An al fresco Bush Picture Theatre Once Nestled Quietly among the Orchards and Produce Gardens of North Ryde

Cinema, Leisure activities, Local history, Regional History

꧁꧂🍊🍋🎭📽️🍿꧁꧂

THE street names around Macquarie University in the northwest of Sydney have an unambiguously militaristic ring to them. Many, many bear the names of historical battles, wars and military campaigns. In particular the battles of two 19th century wars, the Crimean War and the Napoleonic Wars, figure heavily in the street configurations – there’s Balaclava Road, Waterloo Road, Talavera Road, Vimiera Road, Taranto Road, Busaco Road (actually misspelt as the correct spelling of the Peninsula War battle is “Bussaco”), Trafalgar Place, Nile Close and Crimea Road itself. Then there’s Culloden Road, Abuklea Road, Libya Place and Agincourt Road on the Marsfield side, and Khartoum Road, all from various other wars involving the British and English imperialists. Khartoum also lent its name to a very atypical cinema that existed in the North Ryde area long before the university, tech industry or shopping centre came along. The part of North Ryde, which is now called Macquarie Park, was largely green-belt bushland before the 1960s, punctuated by pockets of agriculture, Italian market gardens, citrus orchards and farms, plus an incongruously-placed greyhound racing track on the site of the future university campus. At the time the area which backs onto the Lane Cove National Park had not been developed commercially and its attractive natural surrounds drew the Northwood Group of artists to it who painted the orchards, market gardens, farms and waterways.

Nestled in among all of these market gardens and bushland was the Khartoum Open-Air Theatre, North Ryde’s first licensed cinema. Located on the corner of Khartoum and Waterloo Roads and carved out of a former orchard, it looked like the type of run-down picture house you’d encounter in a country town rather than in Sydney suburbia. The less than majestic Khartoum, held its first public screenings in early 1938. Debut feature for the theatre on opening night was Cecil B DeMille’s The Plainsman.

‘The Plainsman’ (1936)

The picture theatre’s knock-up construction from timber and corrugated iron earned it an affectionate (and not inaccurate) nickname from locals, “The Shack”. Roselands “Theatre Beautiful” it was not! The entrance section and projection booth were made of timber. “Open-air” really meant open-air with an obvious lack of shelter. The structure had a partial roof but most of the seating was exposed to the elements – the covered (padded) seats cost the princely sum of 1/6d while the uncovered (and less comfortable wooden) seats went for 1/-.

Khartoum Theatre, an undisguisedly rudimentary open-air cinema absolutely devoid of any “bells and whistles” 

The theatre’s owner was one Mr N Johnstone and was later partnered by Jack Peckman who doubled as projectionist. The Khartoum functioned as a two-man operation. At intermission or between double features the theatre would regularly provide an unorthodox form of entertainment for the patrons, wood chopping contests (in keeping with the bush ambience?). On wintry nights, if heating was needed, fires were started in 44-gallon drums (wonder if anyone alerted the local fire brigade?) (‘Khartoum Theatre’, www.cinematreasures.org)

Despite its primitive and seemingly incommodious facilities the Khartoum maintained a steady patronage from locals even after the North Ryde Skyline Drive-In, just one block away, opened in 1956. The greater threat however, not only to the Khartoum but to cinemas everywhere, was the arrival of television. (‘Cinemas of the 20s and 30s’, City of Ryde, www.ryde.nsw.gov.au/).

North Ryde Drive-In (photo: David Kilderry/ Drive-Ins Downunder)

“The Shack” managed to keep going at North Ryde—longer than many of the other, conventional cinemas, in the Ryde district—until 1966 when it closed down, bringing an end to 28 years of big screen entertainment in the former orchard. The Wild One with Marlon Brando was the feature chosen for the final screening on closing night in 1966 (‘Sydney’s lost cinemas: Ten of the best which enchanted audience before biting the dust’, Brian Kelly, The Daily Telegraph, 07-Sep-2016, www.dailytelegraph.com.au).

Khartoum Theatre, North Ryde, 1938-1966, one screen, 480 seats

Sokols and Slets: The Czechoslovak Experience of Gymnastics Societies

Leisure activities, Popular Culture, Regional History, Society & Culture, Sport, Sports history

Sokol motto: ❛a healthy mind in a healthy body❜𖤗

Sokol flag

༓ 𖥔 ༓ 𖥔 ༓ 𖥔

The blog preceding this one addressed the German-American phenomena of Turnverein (gymnastics-cum-social-cum-political associations in the US in the 19th and 20th centuries), detailing how the American Turners movement derived its inspiration from the philosophy and gymnastics theory of the Prussian educator Johann Friedrich Jahn. Jahn and the Deutsch Turnenschafts exerted a similar motivational effect on the Czech gymnastics movement’s genesis. Sokol (a Slavic word meaning “falcon”) was founded as a gymnastics, social and fraternal club by two ethnic Germans (Miroslav Tyrš and Jindřich Fügner) in Bohemia in 1862🅰. Sokol’s approach to physical education derived from Tyrš’ PE system placed an emphasis on mass calisthenics.

Mass calisthenics display at Prague’s Strahov Stadium

Just as Turnverein was transplanted into America and took root there, so did Sokol. In 1865 the first American Sokol was formed, just three years after the parent Bohemian organisation started! By 1937 there was nearly 20,000 members of Sokol societies in the US. Back in Europe Sokol became both a catalyst for Czech nationalism and patriotism and an expression of Pan-Slavism with Moravia (Slovakia), Poland, Bulgaria, Russia (including Belorussia and the Ukraine) and the southern Slav (Yugoslav) states all adopting a form of Sokol from the Czech prototype.

Sokol women in a mass calisthenics exhibition (source: Reddit)

Sokol cf. Turnverein: the pursuit of physical fitness through the practice of gymnastics and calisthenics was the raison d’être of both Sokol and the American Turners, both movements were essentially male-focused and geared unequivocally towards the demonstration of masculinity. Underlying the physical educational aims of both were other ideals, a determination to use each’s movement to elevate a sense of group identity…in Sokol’s case, to help forge a sense of Czech nationalism (the practice of gymnastics as a national movement), and for German-Americans, to underpin and preserve the distinctive German-ness and cultural values of the immigrants in an non-German society. The question of politics was a point of departure for the two movements. The Turnverein associations were liberals/socialists by persuasion (at least up until the First World War) and actively supported progressive political causes. Sokol on the other hand in its stated principles was avowedly non-political. This in practice caused internal tensions within Sokol between older Czech members and younger ones, the latter openly advocating for the movement to embrace more direct political participation.

Poster for 1901 Slet (source: sokolmuseum.org)

Slet fests: the pinnacle and showcase of the Sokol phenomena was the Slet🅱 festivals, these were mass, open-air extravaganzas for public consumption. Centrepiece of the Slet fest was thousands of athletes in a stadium exhibition of synchronised calisthenics, accompanied by stirring classical music. Complementing this were competitions in gymnastics and other sporting events, gatherings, parades and rallies, celebrations of culture and the arts. The first Slet was held in Prague in 1882, culminating in a mass calisthenics display. By the 1895 All-Sokol Slet Sokol’s growth and expansion was evident with around 5,000 men and boys performing in the stadium. The 1901 Slet was the first to include women as well as international participants from France and the US. The 1926 Slet (in an independent Czechoslovakia) was the first in the massive, purpose-built Strahov Stadium with a spectator capacity of 250,000 and 182,477 participants taking part (‘History of Prague Slets’, SOKOL Museum Library, www.sokolmuseum.org). After the Second World War the new communist regime in Czechoslovakia permitted only one more Slet to be held (1948) before the Slets and Sokol were suppressed, replaced in 1955 by the first Spartakiad, a mass exercises event and propaganda vehicle for the socialist Czechoslovakian regime, purportedly based on the Soviet Spartakiades. The reality was that the Spartakiads were adopted from the earlier Czech slets and it was only possible for the authorities to organise such a complex, large scale, mega-event with the expertise and active involvement of Sokol organisers (Petr Roubal) (‘The first ever Spartakiad mass exercise and how it was influenced by the Sokol movement’, Thomas McEnchroe, Radio Prague International, 23-Jun-2020, http://english.radio.cz). After the eclipse of communism in the Eastern Bloc, the Sokol Slet was revived in the early 1990s, albeit on a much smaller scale than hitherto.

1948 Slet (source: sokolmuseum.org)

𖤗 mirrors the Turnenfest/American Turners motto

🅰 then part of the Czech lands within the Austro-Hungarian Empire

🅱 in the Czech language meaning “a flock of birds” – to continue Sokol’s ornithological metaphor

Turnverein: The Society of German-American Turners

Performing arts, Popular Culture, Regional History, Social History, Society & Culture, Sport, Sports history

Turnverein (Pl. “Turnvereine”) from German: turnen (“to practice gymnastics”) + –verein (“club” or “union”)

𖥠 𖥠 𖥠 𖥠 𖥠

The earnest pursuit or physical exercise and a healthy lifestyle isn’t the first thing you think of in regard to fast-foodified, modern America and Americans. But it was the case for many German-Americans in the late 19th and early 20th centuries. These immigrants and sons and daughters of immigrants formed themselves into Turnvereins (German gymnastic/athletic clubs) in the US which, inspired by pioneering early 19th century Prussian physical educationalist and nationalist, JFLC ‘Vater’ Jahn (“the Father of Gymnastics”), promoted physical culture, German cultural traditions, freethinking and liberal politics1⃞.

Cincinnati Turners, 1909 (source: Indiana University Library)

The members of these Turnvereins, known as “Turners”, played leading roles in sponsoring gymnastics as an American sport and a subject for school, helping to popularise physical exercise and callisthenics as a way of life. Turner gymnastics, the centerpiece of the societies’ activity, comprised distinctive calisthenics routines and apparatus exercises which emphasised masculine strength and agility [‘Milwaukee Turners’, Encyclopedia of Milwaukee,  https://emke.uwm.edu]. The Turners’ clubs and associations (Vereininigte Turnvereins Nordamerika) spread out from the Ohio Valley throughout the US. At one point, around 1894, Turnerism reached its zenith with 317 societies and approximately 40,000 members. The Turnvereins performed a multi-functional purpose, aside from the physical activities they fulfilled a social role for recent arrivals from Germany, helping them to integrate into their new home while facilitating the retention of German culture (the societies’ halls (Turnhalles) were havens for social get-togethers). In so doing the Turners fostered a form of group solidarity among German-Americans by preserving their ethnic culture and identity [Annette R. Hofmann, ‘The American Turners: their past and present, Revista Brasileira de Ciências do Esporte’, Volume 37, Issue 2, 2015, Pages 119-127, ISSN 0101-3289,
https://doi.org/10.1016/j.rbce.2014.11.020.]

Central Turner Hall, Cincinnati, Oh.

The Turner societies were politically progressive, supporting the liberal brand of Republicanism in the 1850s and 60s.2⃞. Turners were strong abolitionists, both antebellum and during the Civil War, when many of the members fought for the Union side. Later, the Turnen associations embraced homegrown causes in the US such as the struggle to achieve women’s suffrage and equality3⃞ and workers’ rights under capitalism; in the interwar years the Turnvereins were vocal in their opposition to the rise of fascism and Nazism in Europe [‘The Milwaukee Turners at Turner Hall’, www.milwaukeeturners.org).

Milwaukee Turners (source: Encyclopedia of Milwaukee)

By the early 20th century the Turnverein impulse in America was losing its intensity, partly this was generational, the American-born Germans were increasingly less fluent in German and more attuned with the mainstream US culture. The associations were less radical and socialist and more conservative in their outlook and American government WWI hostility to Germany and Germans and Prohibition in the decade-plus after it were factors that further undermined Turner solidarity. The pull of assimilation and an inevitable “Americanisation” process severely weakened the cultural affinity with things Germans within the associations and the number of Turner societies dropped off dramatically from the 1920s on 4⃞ (Hofmann).

Today, the Turnen movement in America—massively diminished in size and influence with the number of active clubs having plummeted to under 50—and shorn both of its political activism and its Teutonic focus, maintains its existence as gymnastics (and other sports) clubs and social associations, while espousing the motto “a sound mind in a sound body” and still advocating the core virtues of physical fitness and exercise.

100th anniversary of Baltimore Turners (source: Indiana Memory Hosted Digital Collections)

Endnote: while the gym and physical fitness remains central to the societies’ ethos, the modern American Turner clubs have diversified their repertoire of group activities beyond the exclusive practice of gymnastics. The Riverside Turners (New Jersey) for instance offers a range of activities including darts, shuffleboard, horseshoes, basketball and golf, while the Milwaukee Turners provide members looking for something more challenging with rock and ice climbing walls.

Photo: Facebook, Milwaukee Turners

              

1⃞ unfortunately Jahn’s training regimen which tended towards the militaristic had a downside…it also directly influenced the Nazis and the Hitler Youth movement of the following century [‘A History of Gymnastics, From Ancient Greece to Tokyo 2020’, Meilan Solly, Smithsonian Magazine, 26-July-2021, www.smithsonianmag.com]

2⃞ in the 1850s the Turners found themselves in bitter conflict with the short-lived, nativist “Know-Nothing” party

3⃞ which contrasts starkly with the record of gender exclusion within the Turnen societies themselves…women were firmly ensconced in a subordinate role as the Turnvereins remained male preserves right up to recent times

4⃞ German culture was submerged under “Apple pie Americanism” with German references in the organisation’s names such as Demokratischer Turnerbund shelved…from 1938 the national movement officially and permanently became “American Turners”

A Logolept’s Diet of Obscure, Obsolete, Curious and Downright Odd “W” Words

Creative Writing, Literary & Linguistics, Popular Culture, Society & Culture

A “W” beats a “single U”, and a “single V” for that matter!”

“W”, letter number 23 in the alphabet, traces its genesis to the Semitic letter vaw (as does f, u, v and y), which the ancient Greeks adopted as upsilon. W’s place in the English alphabet came about indirectly via the prior-existing letters “U” and “V”. At first there was no letter “W”, “W” was represented by two consecutive letter U or V …eventually one single character evolved to represent the “W” sound – “W” or “Double-U”. “It’s this history that gives W the longest name of any letter of the English language—and also means that the acronym www uniquely contains three times more syllables than it does letters” (www.mentalfloss.com).

Why Double-U and not Double-V? In print (but not cursive writing) “W” comprises two Vs (VV), so why wasn’t it called “Double-V”? Basically it’s to do with the timing of the letter W’s evolution in Old English. At the time the “W” symbol was created “V” did not exist in that language, so “W” was rendered as “UU”, and so it stayed (‘Why isn’t a W called a double V?’ Grammarphobia (27-Apr-2011), www.grammarphobia.com).

<word> <meaning> <derivation>

Wafture: (cf. Waftage) act of waving or making a wave-like motion; wafting: to convey or carry lightly and smoothly through the air or over water [from LowGer., Dutch wachter, from wachten (“to guard”, the sense of “convey by water”/“escort a ship”) from wafter (“armed convoy vessel”)] 👋

Waggoner: driver of a wagon; a collection or book of nautical maps [from OldDutch wagan, from Proto-West Germanic wagn, from Proto-Germanic wagnaz (“wagon”), from Proto-Indo-European woǵnos (“wagon”; “primitive carriage”), from weǵ- (“to transport”)] 📕

Waggoner (source: National Maritime Historical Society)

Wagtail: an obsequious person; a harlot (origin unknown)

Wale: to choose; the act of choosing(?) (origin unknown)

Wamble: nauseous; walk unsteadily; a staggering gait; wobbling or rolling motion; churning of the stomach [MidEng. wamlen; (“to become nauseated”), from L. vomere (“to vomit”)]

Wanchancy: unlucky; uncanny [from MidEng. wan-, from OldEng. wan-, from Proto-West Germanic wana- + From MidEng. chance, cheance, chaunce, cheaunce, a borrowing from Old French cheance (“accident”; “chance”; “luck”), from Vulgar Latin cadentia (“falling”)]

Wanhope: hopelessness; despair; vain hope; overconfidence; delusion [OldEng. wan-, from Proto-Germanic wanaz (“lacking”; “missing”; “deficient”) + from Old English hopian (“hope”)]

Warray: to wage war on [from warry (“war-like”), from Fr, from Vulgar Latin werridiāre]

Wasm: a doctrine, ideology, rule, or theory that is no longer current or fashionable (etymology unclear, first appeared in print via Arthur Koestler, 1949)

Wasm (source: YourDictionary)

Wassail: toast to someone’s health; to go caroling or carousing; spiced ale or mulled wine [Old Norse. ves heill (“be well”, toast] 🥂

Wasserman: a mythical sea monster, part man, thought to destroy ships [from Ger.Wasserman]

Wasserman (image: Pinterest.com.au/)

Webster: female weaver [OldEng. webbestre, from webba (“a weaver”) from webb]

Wegotism: excessive use of the pronoun “we” in speech or writing [blend of we +‎ egotism]

Weirdward: bordering upon the supernatural (origin unknown)

Welkin: the vault of the sky; firmament; heaven [from OldEng. wolcn (“cloud”)]

Wen: a very large, overcrowded city [from MidEng. wen, wenne, from OldEng. wenn, wænn (“wen”), from Proto-Ger. wanjaz]

Wen (photograph: Satish Bate/Hindustan Times/Getty Images)

Wergild: fine paid by family of murderer to family of murder victim (“man-price”) [MidEng. wergeld, from OldEng. wer (“man”) + -geld, alteration of gield, geld (“payment”; “tribute”) 💰

Wertfrei: without value judgement; morally neutral [Ger. wert (“worth”) + -frei (“free”)]

Whangam: an imaginary creature [17th cent. neologism coined by Oliver Goldsmith, Anglo-Irish author]

Whipcat: a person who makes, repairs, or alters outer garments, esp menswear; a tailor (slang: a worker “who whips the cat”) (origin unknown)

Whiskerando: a man with extravagant whiskers [Scand. Iceld. visk (“a wisp of hay”); allusion to Don Ferolo Whiskerando in RB Sheridan’s The Critic] (cf. Whiskerine: beard-growing contest)

Whiskerando (source: dailymail.co.uk)

Wiccaphobiac: one who fears or hates Wiccans or Wicca. A person with a morbid fear of witches or witchcraft [OldEng. wiċċa (“male witch”), from Proto-Germanic wikkô (“sorcerer”) + -phobia]

Wiccaphobiac ((image: Pinterest.com.au/)

Widdershins: counterclockwise, anticlockwise; to walk around an object by always keeping it on the left MidLowGer. weddersinnes, (literally “against the way”, i.e. “in the opposite direction”)] cf. Widersinnen: “to go against”)

Wight: nimble; strong; courageous; a supernatural, man-like being [from MidEng. wight or wiȝt, from OldEng. wiht, from Proto-West Germanic wihti]

Williwaw: a sudden, violent gust of cold wind; a state of extreme confusion, turmoil, or agitation (origin unknown) 💨

Witticaster: a petty or inferior wit [from MidEng. witty, witti, from OldEng. wittiġ, witiġ, ġewittiġ (“clever”; “wise”), from Proto-West Germanic witīg + –aster]

Wold: a piece of high, open, uncultivated land or moor (Brit.) [OldEng. wald (“wooded upland”) of Germanic origin; perhaps related to wild]

Wondermonger: one who promises miracles; a person who tells of or exploits strange or freakish things [from MidEng. wonder, wunder, from OldEng. wundor (“wonder”; “miracle”; “marvel”), from Proto-West Germanic *wundr + from L. mangō (“dealer”; “trader”)]

Woonerf: a road in a residential district which has installed devices (eg, traffic calming, low speed limits, shared space) to reduce or slow the flow of traffic (a living street) [Dutch: wonen (“reside”) + erf (“ground”; “premises”) (literally: “living yard” or “residential grounds”)]

Woopie: an affluent retired person able to pursuit an active lifestyle [derived from the acronym “well off older person” (“woop)”]

Worksome: industrious; diligent; labour-intensive [from MidEng. work, werk, from OldEng. weorc + from OldEng. -sum (“some”)]

Worricow: scarecrow; hobgoblin; frightening-looking person [Scot. from worry (“to harass”) + –cow (“hobgoblin”)]

Woubit: a small and shabby person; a hairy caterpillar [MidEng. wolbode, from woll (“wool”) + -bode (?)]

Wrackful: destructive or ruinous [from “wreck”, from OldNorse reta (“to drive”) ➠ Anglo-Norman Fr. wrec]

Writative: characterized by an inclination to write ✍️ [from MidEng. writen, from OldEng. wrītan, from Proto-West Germanic wrītan + -tive (poss. based on “talkative”)]

Wynd: narrow street or lane [MidEng: (Scots) wynde, probably from wynden (“to wind”; “proceed”; “go”) from OldEng. windan (“to twist”)]

Wyrd: the personification of fate or destiny [from Proto-Germanic wurdiz, from Proto-Indo-European wr̥ti-, wert- (“to turn”)]