The following background and guidance has been prepared by the VFMC committee in July 2024. Also included for completeness, is the Preface to the Third Edition, 2020 to the Joy Durst Memorial Australian Song Collection. This edition of the book also has an extensive Notes section at Appendix 1, with a note on every song. In some cases, the note may complement the comments below.
Listed below are songs that the subcommittee has noted contain references about race. Some of these may need some preamble or introduction before performing. Some of these purely mention race as an identity. We have noted them here for the sake of completeness, but do not feel they need further attention. We have erred on the cautious side with these comments. Numbering is taken from the latest edition published on the web site:
20 – “Ryebuck Shearer”
Verse 2 is confusing, but on the face of it, does not speak well of a Chinese shearer. An additional verse, possibly to replace verse 2 is included on the bottom of the page. Still not a great verse, but no individual is named.
We recommend to a performer to consider not performing V2. Indeed, the Bushwackers did a very good version of this song without using either of the above verses and had two additional ones that they had found or added.
29 – “Banks of the Condamine”
Verse 2 could be seen as misogynistic but seems to be simply a play on the common expectation of a woman’s role; the man worked for pay, and the woman did the cooking and cleaning
We recommend that some audiences may require some sort of introduction, but that it is unlikely to offend.
33 – “The Bullockies Ball”
The phrase “Nanny the rat, the real macassar” is used in a few places. It probably means that Nanny the rat is from the Macassar/Sulawesi region of Indonesia, and nothing more.
No special action required
39 – “Maggie May”
What does it mean that she “dosed so many whalers”? It could mean that she gave them the “clap”, or it could mean that she duped them.
No special action required.
43 – “The Old Bullock Dray”
The protagonist uses the word “piccaninnies”, an aboriginal word for children, but he is referring to the children that he and his wife to be may have. The song reads like a proposal for marriage.
No special action required.
44 – “The Old Palmer Song”
Verse 2 mentions that “the blacks are troublesome”, and V3 “in spite of the blacks”. The protagonist is relaying to the listener the rumour that he has heard, and it may have been true. Their land was being taken and they were being treated poorly. His view is one however that the land is “rich and new”; ripe for the taking
If this song is to be performed, we recommend that an introduction be used to set the context, and to alert the audience that the song portrays events and attitudes that we know were wrong. Performing the song does not mean we condone the actions, but do acknowledge that they happened.
58 – “Gumleaf Musician”
This song speaks of the poor treatment of aboriginal people but speaks of a hope that things can be better. An introduction that speaks to these points could be made before a performance.
69 – “The Overlanders”
Verse 3 mixes together immigrants and people from many nations in a positive light. They are all part of the team. Aboriginal peoples are not specifically mentioned except by inference “… both white and black…”.
No special action required.
72 – “Shining Moon”
Written by Stan Wakefield (date? 1920 to 1960?) and published by the Sydney “Bush Music Club”.
On the face of it, possibly a trite or patronising piece seemingly written by someone trying a little too hard to be 1/ accepting, and 2/ “with it” in language. But John Meredith writes of Stan “… his sincerity, his ever-present sense of humour, his warm mateship, his feeling for people of all race…”. Stan also lived in the bush for 20 years or more doing both itinerant work and playing music, living and working with the people he writes about. He may have been trying to bridge a gap but may have tried too hard. We believe that the Bush Music Club, where Stan was a member, no longer perform this piece.
We also recommend serious consideration be given before performing this piece.
74 – “Travelling Down the Castlereagh”
Most likely about the shearers strike of 1891, which led to the start of the White Australia Policy and an attempt at exclusion of low-cost Chinese labour.
The protagonist in this song speaks poorly of the Chinese in V3. The Chinese would have been brought in to work for lower wages. He uses the term leprosy about them, but it is more likely that he is condemning those willing to break the strike and work outside the unions, weakening the unions’ bargaining position, than specifically the Chinese.
We recommend that a performer introduce the song, addressing the points above.
81 – “The Canecutter’s Lament”
Hard to know if the slurs about the cook are because he is Chinese, maybe cooking unfamiliar food, or just because he is a bad cook.
The Chinese cook is accused of having “shit on the liver”, apparently old Aust. Slang for being in a bad mood. Nothing to do with being Chinese.
It would be easy to change the wording to refer to the “dirty cook”, or the “flamin’ cook” without altering the meaning of the song, and we recommend this be done.
85 – The F-11
“…we want to scare some Asians…”. A caricature on Menzies’ attitudes more than a slur on the Asians.
This song is making fun of Menzies and his cronies, but just in case, a small intro reminding folks of this may be appropriate.
87 – “Goondiwindi Song”
Recorded in Joy Durst as being collected and published by the Sydney Bush Music Club, although the words in this version are quite different to that version.
The song compares the writer (purportedly an Aboriginal woman) and “whites”. Refers to the “whites” referring to her people as “niggers”, but the context is as a put down of the “whites”, accusing them of being too lazy.
V3. The phrase “lubra girl” had become by then a term of insult and denigration particularly of Aboriginal women. The author reminds us that “God he made the lubra girl”, and that she shouldn’t be despised.
We would caution against performing this song in most circumstances without adequate introduction.
Since the last edition, the mechanisms available for distributing this songbook have changed dramatically. It was decided to digitise the songbook and work with small quantity desktop publishing. This naturally opened up a number of opportunities which were not available when this songbook was first published. The new technologies facilitated: production of the songbook on an as needed basis, standardisation of fonts and arrangements, electronic distribution as well as hard copy, access to historical records previously unavailable, access to geo-spatial data related to places referred to in the songs, production of sound files for the scores, provision of files enabling users to easily produce scores in different keys, and possibly most significantly, the capacity to make this songbook and hence these songs available instantaneously to millions of people throughout the world.
Many hours have been spent in recompiling this work, and despite our best efforts there may still be errors. But more importantly, there are judgement calls that have been made. Four people have worked together with most decisions being taken in committee. More often than not, the decisions were not unanimous, indicating how much personal perspective colours what we see as the “best outcome”. Probably the most significant change in approach came as we tried to put aside opinions based on “what I prefer” and tried to work out “what most others would prefer”. As you can imagine much passion, pulling of legs and laughter, was involved.
The changes and additions incorporated in this edition are described in detail in the section entitled “Technical Notes”. Also included in this section is the philosophy and considerations behind those changes and additions.
The official site of the Victorian Folk Music Club Incorporated (Reg No A2511Y) ABN 28 668 156 704
Last modified: July 25 2024 12:49.