Friday, 3 January 2025

Should Kościuszko’s name remain atop the mountain?



Tadeusz Kościuszko.

Nobleman, soldier, revolutionary, humanist – who was Tadeusz Kościuszko, the man behind the mountain? DARIUS von GUTTNER SPORZYNSKI reviews a profile of his incredible life.

Anthony Sharwood’s Kosziuszko: The incredible life of the man behind the mountain is far more than a biography of an extraordinary historical figure. It is a trip through time, continents and cultural landscapes.

It blends the life of Tadeusz Kościuszko (1746-1817) – a nobleman, military engineer, revolutionary and humanist – with contemporary debates about identity, reconciliation and memory.

Sharwood invites readers to join him on a journey to uncover who Kościuszko was, why his name sits atop Australia’s highest mountain, and whether it should remain there.

Kościuszko is an enigmatic figure to everyone but the citizens of his native Poland, though he is also celebrated as a hero in America, where he is known for his role in the American rebellion against the British.

His life was defined by his unwavering commitment to justice and human rights. In Poland, he led the 1794 Kosciuszko Uprising against Russian domination and advocated for social reforms. He fought to end Polish serfdom. He dedicated his American estate to the education and emancipation of African American slaves, although his will was never fully executed.

Sharwood explores Kościuszko’s life with a unique narrative structure, inviting readers to explore his subject’s legacy as though they are travelling alongside him. The biography begins with a simple yet intriguing question: “Who was the Kosciuszko fella?”

Sharwood’s answer takes readers to the heart of the man who became a symbol of liberty and equality, earning the admiration of luminaries such as Thomas Jefferson and George Washington. Yet the book is as much about Australia and its Indigenous people as it is about Kościuszko himself. It offers a richly layered exploration of history, identity and the power of names.

Tadeusz Kościuszko – artist unknown. National Museum, Warsaw, Public domain, via Wikimedia Commons

A champion of liberty and equality

Sharwood’s approach is refreshingly unconventional. Rather than presenting a linear historical narrative, he embarks on a road trip through Kościuszko’s life and the places that shaped it. Along the way, we learn of Kościuszko’s early life in Lithuania and Poland, his education in France, and his commitment to Enlightenment ideals.

Starting in America, Sharwood traces Kościuszko’s rise as a military engineer during the American War of Independence. His account of the period Kościuszko spent in America, from 1776 to 1784, is vividly detailed. As a colonel in the Continental Army, Kościuszko played a critical role in fortifying Saratoga and West Point. He emerges as a man of principle, who not only fought for American independence, but sought to challenge the contradictions of its society.

His will, which directed his American assets to be used for freeing and educating enslaved people, becomes a focal point in the narrative. Sharwood uses it to explore Kościuszko’s unwavering commitment to human rights, painting him as a figure who transcended the cultural constraints of his time.

The narrative then moves to Poland, where Kościuszko’s leadership during the 1794 uprising against Russian and Prussian forces solidified his status as a national hero. Despite his military brilliance and political vision, Kościuszko’s efforts to preserve Polish independence were thwarted by the effects of successive partitions of Poland in 1772, 1793 and 1795, which erased the Polish-Lithuanian Commonwealth of his childhood from the map of Europe.

Sharwood vividly captures the drama and tragedy of this period, portraying Kościuszko as a charismatic leader whose vision for equality inspired soldiers and peasants alike. Despite his eventual defeat and imprisonment, Kościuszko’s ideals endured, making him a symbol of resistance against oppression. Sharwood’s storytelling shines in these sections, blending research with compelling prose that brings history to life.

Portrait of Tadeusz Kościuszko – Kazimierz Wojniakowski (c.1812).
Public domain, via Wikimedia Commons

History, identity, naming

What sets this biography apart is its integration of Kościuszko’s story with the contemporary debate over the naming of Mount Kosciuszko.

Kościuszko never set foot on the Australian continent. The mountain was named in 1840, long after his death, by Polish explorer Paul Strzelecki (1797-1873), who was inspired by Kościuszko’s ideals. The naming is now at the centre of discussions about indigenous recognition.

Sharwood highlights the cultural significance of the Snowy Mountains for the Ngarigo people. He explores their ancient customs, their displacement during European colonisation, and their perspectives on the future of the mountain’s name. By engaging with traditional owners, such as Ngarigo elder Cheryl Davison, Sharwood adds depth to the narrative, situating the debate within broader questions of reconciliation and historical justice.

Sharwood’s ability to connect Kościuszko’s legacy with contemporary issues facing Australia is one of the book’s greatest strengths. He explores how names shape our understanding of history and identity, asking whether Kościuszko’s name should remain on the mountain or be replaced with an indigenous name. His nuanced approach reflects the complexity of the question. He acknowledges the multiple names used by different indigenous clans, such as Kunama Namadgi and Tar Gan Gil. He also considers what Kościuszko himself might have wanted.

Sharwood refrains from providing definitive answers. Instead, he encourages readers to reflect on the layers of history and meaning embedded in the mountain.

The book’s road-trip structure enhances its accessibility and emotional resonance. Sharwood takes readers from Poland to Switzerland, where Kościuszko spent his final years, and to the United States, where his ideals of liberty and equality continue to inspire. The journey extends to the town of Kosciusko, Mississippi (notably spelled without the “z”), the birthplace of Oprah Winfrey, adding a quirky yet meaningful connection to Kościuszko’s global legacy. Sharwood’s travels culminate in Australia, where he retraces Strzelecki’s footsteps and delves into the history of the Snowy Mountains.

This personal approach makes the biography feel intimate and relatable, as though readers are discovering Kościuszko’s story alongside the author. Sharwood’s writing is as engaging as it is informative. His journalistic background is evident in his ability to distil complex historical events into narratives that are both compelling and easy to follow.

At the same time, his passion for the Australian High Country, showcased in previous works From Snow to Ash and The Brumby Wars, enriches his exploration of Mount Kosciuszko. His vivid descriptions of the landscape, combined with his deep respect for its cultural significance, create a powerful sense of place that anchors the narrative.

Despite its many strengths, the book does have its limitations. Sharwood’s admiration for Kościuszko occasionally verges on romanticisation, portraying him as an almost flawless hero. While this approach underscores Kościuszko’s enduring appeal, it sometimes oversimplifies the complexities of his character and his historical context. Sharwood has crafted an unconventional biography that is as thought-provoking as it is inspiring, but his approach can be irritating, especially to a historian seeking greater detail.

Kościuszko’s will, for example, is celebrated as a bold statement of equality, but the practical challenges that prevented its execution receive less attention. Similarly, the book’s road-trip format, while engaging, can feel disjointed, with some of the transitions between historical and contemporary narratives lacking fluidity.

The book nevertheless succeeds in its primary goal. It illuminates the life and legacy of a remarkable figure, while prompting readers to consider the broader implications of his story. Sharwood’s exploration of Kościuszko’s ideals of liberty, equality and justice resonates deeply in a world still grappling with these issues. His engagement with the Indigenous history of the Snowy Mountains adds a vital layer of complexity to the narrative, reminding readers that history is never one-dimensional.

In celebrating Kościuszko, Sharwood invites Australians to reflect on their own values and history. The parallels between Kościuszko’s life and the Australian ethos – resilience, fairness, unity, the championing of the underdog – underscore why his name, carried by Australia’s highest mountain, continues to inspire. By framing Kościuszko within this cultural narrative, Sharwood not only honours the man himself, but affirms the enduring relevance of these ideals in contemporary Australian society.

For those interested in history and culture, or the intersections between the two, Sharwood’s biography is essential reading. Whether or not Kościuszko’s name remains on Australia’s highest mountain, his legacy as a champion of human rights and a symbol of resistance will endure.

Darius von Guttner Sporzynski, Researcher, Historian, Australian Catholic University. Review: Kosziuszko: The incredible life of the man behind the mountain - Anthony Sharwood (Hachette). Republished from The Conversation, via Canberra City News, January 2, 2024.



Thursday, 2 January 2025

Country Music Legend Chad Morgan Passes Away



Country music icon Chad Morgan at the Woodford Folk Festival last year. Picture: Lachie Millard

The Sheik of Scrubby Creek has left the stage.


By Stephen Green

Australian country legend Chad Morgan has passed away at the age of 91 on New Years’ Day. The sad news was shared on behalf of his son Chad Jr and daughter Janelle on social media this morning. While no further details have been announced, it is known that Morgan was battling ill health after an almost unmatched career of live performing.


The legendary artist had a career spanning over 70 years, launching his career in 1952, when he was discovered through the radio talent quest Australia's Amateur Hour. The title of the song he entered with, The Sheik Of Scrubby Creek, has since become Morgan’s affectionate nickname.


He released his debut album under the same name in 1958, with an incredible 18 album releases following until the mid 1990s. His most recent album, Quarantined, arrived in 2021, before announcing his retirement in early 2024. His farewell show was at Twin Towns.


His charmingly-vibrant country and Western folk songs won fans over the decades, with his work ethic unquestionsed, from from touring large venues including with The Slim Dusty Show through to the smallest pubs in the smallest towns, Morgan dedicated his life to playing for his fans.


Morgan’s influence in Australia knows no bounds, having inspired Col Elliott, John Williamson and Barry Humphries (Dame Edna) in their respective careers. 2023 marked his 71st year touring across Australia.


Along the way, Morgan was the subject of a documentary film – I'm Not Dead Yet, which hit screens in 2012 – and freelance journalist Anna Rose published his official biography, Seventy Years In The Making, in 2022. His life was punctuated by a series of setbacks including a motorcycle accident in 1954 and a stroke at 47.


He entered the Australian Roll of Renown in 1987 and in 2010 received the CMAA Lifetime Achievement Award. In 2015 he was given the Mo Award for Australian Country Male Act of the Year and in 2018 received the Grant McLennan Lifetime Achivement Award at the Queensland Music Awards.


Morgan had been battling ill health since announcing the cancellation of a run of Tamworth shows, but not too many artists were still at the crease and batting at age 91. Morgan will be remembered as being fiercely independent, for his love of his audience and for his lifelong dedication to his craft.


First published at Countrytown, January 2, 2024





Paddington in Peru sees beloved bear and Brown family head to the Amazon in search of Aunt Lucy



Paddington trades the hustle and bustle of London for the rich scenery of Peru. (Supplied: Studio Canal)

By Jamie Tram


At the risk of courting controversy, Paddington 2 is not a perfect film — but it was, undoubtedly, the perfect film for the cultural moment of 2017.


It was a family movie by way of Frank Capra, driven by an assured belief in the power of kindness, while simultaneously grappling with the loss of that faith within a cruel world. Against all odds, writer-director Paul King succeeded in making an intelligent, heartfelt movie on the objectively absurd premise of Paddington Bear going to prison.

Paddington 2 would become the most prominent face of “nice core”, a #resist-era taxonomy that encompassed new art about the goodness of people that was, implicitly and explicitly, a rebuke against the newly elected president, Donald Trump. Bolstered by its own timeliness, it quickly occupied a near-sacred spot in popular culture typically reserved for the likes of The Godfather, and achieved the kind of meme status that resulted in Nicolas Cage weeping over the film.

That period of time now feels like several lifetimes ago. Back then, Disney would champion increasingly pointless milestones about their first gay characters. More recently, the 'Mouse House' has made the news for cutting a trans storyline from an upcoming Disney+ show.

In 2024, nicecore, hopepunk and the general spirit that once projected revolutionary zeal onto kids' films feels practically dead in the water. In other words, Paddington in Peru had a lot to live up to.

The Brown family and Mrs Bird return, albeit with the odd unfamiliar face. (Supplied: Studio Canal)

The film has a strong pitch: airlift Paddington (Ben Whishaw, adorable as always) into an Indiana Jones movie and see what happens.

Its story kicks off when Aunt Lucy (Imelda Staunton) sends him an invitation to visit her at the Home for Retired Bears; he decides to make the trek back to Peru with the Brown family (this time with Sally Hawkins swapped out for Emily Mortimer), and immediately discovers that his only living relative has gone missing under peculiar circumstances.

After digging for clues, Paddington discovers his aunt has seemingly become consumed by a quest to find the lost city of El Dorado, rumoured to contain a bounty of priceless gold. Paddington and his family hop on a ship captained by the dashing Hunter (Antonio Banderas, having a ball) and his daughter Gina, and venture deep into the Amazon rainforest to locate the mythical metropolis.

First published at ABC News, January 1, 2024

Read full story here.



Georgia keeps the classics museum’s treasures alive



Georgia Pike-Rowney… “My style has been to swing away from being negative… the students are so interested so I decided to go totally public and totally positive.” Photo: Maggie Otto

By Helen Musa

It’s a far cry from her days as a flaming redhead treading the stage in Thoroughly Modern Millie for Canberra Philo in 2008, but Georgia Pike-Rowney is playing a vital role in leading and promoting one of the ANU’s treasures – its Classics Museum.

Pike-Rowney’s contract as the lecturer in classics and curator of the ANU Classics Museum since 2022 has been extended until July 2026, thanks to contributions from the very active Friends of the ANU Classics Museum, who hold regular talks, functions and walk-throughs of the priceless objects collected by the university since 1962.

The announcement of her extension came just in the nick of time, as the ANU’s general refurbishment necessitated Pike-Rowney and her colleagues packing the entire collection out.

The  museum has now augmented its ageing glass exhibition cases with more upmarket “vitrines”, secure glass display cases that are carefully light controlled.

Neither Pike-Rowney, the Friends nor the scholars at the Centre for Classical Studies take their responsibilities lightly, for in 2004 there was a crisis when the “head of Livia” was stolen from the museum – they don’t want that to happen again.

Pike-Rowney’s appointment is central to the centre’s teaching and outreach program, its research on object-based learning and the university’s management of restitution cases, the return of improperly-acquired objects to their countries of origin, a big deal in museums these days.

She is working with the Embassy of Italy on a number of restitution cases, and in a happy compromise, the pieces will remain on loan in the museum after their official restitution is complete.

In a more complex case, a Roman marble portrait head belonging to the Lateran collection in the Vatican, has been negotiated with Italy as the go-between.

Far from regarding the question of restitution as negative, she believes it can be a positive and says: “My style has been to swing away from being negative… the students are so interested so I decided to go totally public and totally positive.”

Besides which, given our distance from the ancient digs of Mesopotamia and the Graeco-Roman, world, she says: “Students can’t afford to miss the opportunity to get close up and personal with real material culture… but these matters must be managed sensitively.”

It’s not all about her, but they’ve picked someone with impressive qualifications. 

For with a classics/law degree and PhD from the ANU mixing classics, music and education, a stint analysing quality of research data at the university’s College of Health and Medicine and an ongoing role as a music director, actor and educator for Child Players ACT, she is well  placed to communicate the ethos of the Classics Museum.

Central to the museum, located in the AD Hope Building, is the large Rome replica, surrounded by artefacts, but there’s an obvious need to find ways of activating items in the collection for present-day appreciation, so Pike-Rowney has spearheaded a project called ARTefacts, still on show until March. Here five artists responded to works in the collection.

In Spiralling, for instance, artist Harriet Schwarzrock responded to an eighth-century BCE brooch using glass tubing, neon gas and electrical input from a high-voltage transformer, while in If Only You Could See What I Have Seen with Your Eyes, Robert Nugent activated a bronze head of a woman from the first century CE by giving the bust eyeballs. 

In Of Pots and Prams, Susie Russell responded to Wendy Wood’s wild modern take on Attic vases and bowls, while Braidwood artist Julian Laffan’s answer to first and second century CE writing tablets was a woodblock print, The Eye of the Tree: Reading with Platanus acerifolia. Probably the most striking objects are Aidan Hartshorn’s Treasures of the Wolgul Tribe, gilded objects inspired by First Nations artefacts from southeastern NSW. 

To  further help bring the classics to life, Pike-Rowney and the Centre for Classical Studies’ lecturers have been teaching young and funky new courses such as tThis year’s Life, Love, and Loss in Ancient Greece and Rome, co-taught with Simona Martorana, and next year’s The Muse and the Machine: The arts, technology and society in Graeco-Roman Antiquity, with Tatiana Bur.

Meantime, now that they’re back after several months of languishing in temporary locations, they’re sprucing up for something really big – the centre will host the Australasian Society for Classical Studies’ Conference, February 3-5.

The ANU Classics Museum is open from January 6, Monday-Friday, 9am-5pm. 

First published at Canberra City News, January 2, 2024



Wednesday, 1 January 2025

Woodford Folk Festival aims to preserve future with fundraiser



A Forest of Goodwill campaign will help secure the Woodford Folk Festival for the next generation. (Supplied: SomeFX)

By Sarah Howells and Tim Wong-See

The iconic Woodford Folk Festival is embarking on an ambitious multi-million-dollar fundraising initiative to buy back the festival site and future-proof the popular annual cultural pilgrimage for future generations.

The site known as Woodfordia, located north of Brisbane, has hosted millions of festival-goers since 1994 after outgrowing its previous site on the Sunshine Coast hinterland where it started in 1987 as the Maleny Folk Festival.

Held over six days, organisers, together with close to 2,500 volunteers, host thousands of acts and performers at Woodfordia claiming it is the largest gathering of artists and musicians in Australia.

Securing festival future

Festival organisers have now launched 'A Forest of Goodwill' campaign to ultimately raise $5.7 million to buy the 163-hectare festival site from the City of Moreton Bay council. 

The move would ultimately return the land's ownership to Woodfordia Inc after being sold to the council following the 2010/11 Queensland floods.

The resulting financial losses and damage from the weather event led organisers to sell the land under a 50-year lease with a 25-year buyback option.

Speaking at the festival — which runs over the Christmas and New Year period — managing director of Woodfordia Inc Amanda Jackes said the campaign was about the future.

Woodford's managing director, Amanda Jackes. (Supplied: Jack Tindall)

"It's now our community that is going to need to be the people that are going to have to secure this now," Ms Jackes said.

The campaign also fulfils Woodfordia's 500-year vision — "to gift future generations a place of peace and potential, free from debt — financial, social, and environmental".

On top of support for artists and performers, organisers estimate in 2022/23 the festival generated $28 million in economic benefit for the Moreton Bay region and $32 million across the state.

Ms Jackes said the community support that helped secure the festival's Woodfordia site would be needed again.

"Just like back in 1994 when we needed to find a home for our festival, it was the community that came together," Ms Jackes said.

It was also the community that started what has grown into a remarkable environmental legacy.

Since the Woodfordia site's purchase in 1994, it has been transformed from a degraded rural property to host a network of roads, bridges, underwater sewerage systems, and drainage to make the festival possible.

Tree planting weekends have also put more than 100,000 trees into the ground with trees planted more than 21 years ago still in place providing shade and a home for wildlife.

Fundraising begins

ABC Gardening Australia and Woodford Folk Festival stalwart Costa Georgiadis backed the campaign by describing the event as essential to telling the country's stories.

The popular ABC presenter has donated $5,000 on behalf of his five nephews and nieces to the fundraising campaign.

"We need a storytelling hub that is secure, secure long after we've gone," Mr Georgiadis said.

Popular ABC presenter Costa Georgiadis has donated $5,000 to the fundraiser on behalf of his nephews and nieces. 
(Supplied: Jack Tindall)

"We don't say we are this and we are multicultural and all of that, anyone can say words, Woodford is the action," he said.

"You are safe here, we want to hear your stories, your stories matter."

Woodford patrons Stephen and Joanne Pronk have already donated $250,000 to the campaign with their two daughters and seven grandchildren also growing up with the festival.

"Seeing these grandchildren enjoy Woodford I thought, 'Well there's no better way for me to add value to the world other than a monetary donation that will help Woodford survive,'" Mr Pronk said.

Woodford patrons Joanne and Stephen Pronk. (Supplied: Woodford Folk Festival)

"I've always been taught you got to give til it hurts and that was about our limit.

"I'm investing in my children and grandchildren and great grandchildren."

A moment in time

Ms Jackes said this year's festival marked the start of what would be a big campaign.

"This is a momentous occasion to do this," Ms Jackes said. 

"It's a hallmark campaign.

"We'll also be talking to the council about how best they could actually make this a good campaign as well."

The City of Moreton Bay was contacted for comment.

First published at ABC News, January 1st, 2024