Lower Lights, Whaling & Scrimshaw

Lower Lights, Whaling & Scrimshaw - 

 I, like many today, hold a deep reverence for whales. I am captivated by their sounds, their movements, and their majestic presence in the ocean. The idea of harming such creatures is, to me, deeply unsettling. However, as a descendant of Norfolk Islanders, I must also confront the reality of our whaling history, a heritage that includes my own great-grandfather, Louis “Hookie” Bataille, who was a harpoonist in the 1940s.

How can I, in my 21st-century world of convenience and technological advancement, truly understand the motivations and necessities of the whaling industry in Norfolk Island?

To judge the past from the comfort of the present is unrealistic without a deep understanding of the historical context, the economic realities, and the cultural values that shaped a necessity within a way of life. On Norfolk Island in the mid-20th century, resources were limited, opportunities were scarce, and self-sufficiency was paramount. In this context, whaling was not simply a job; it was a vital part of the island's economy and way of life. 

Speaking with elders who lived through this period provides invaluable insight into the challenges of island life. It allows us to appreciate the pride and sense of purpose that came from contributing to the community and mastering a specialized skill.

>>>Listen to Norfolk Islander, the late Puss Anderson as he shares his whaling experience.

The wonderful old Whaling Hymn “Let the Lower Lights Be Burning” was always sung. -

>>> Listen to a 1972 recording captured in the Methodist Church.

Scrimshaw, an art form born from the whaling era, involves intricate carvings on whale bones and teeth. 

The etymology of "scrimshaw" remains uncertain, with theories ranging from a Dutch nautical term meaning "to waste time" to connections with ancient Inuit art. 

The long hours aboard whaling ships, with the hazardous work of whaling limited to daylight, provided ample "free" time for sailors to engage in artistic pursuits. This leisure, combined with readily available materials, fostered the growth of scrimshaw as a unique maritime craft.

During the 19th and 20th centuries, the art of scrimshaw was practiced on Norfolk Island by visiting whalers. These skilled craftsmen etched designs onto whale bones and teeth, rubbing ink into the carvings and then wiping it back to reveal the artwork within the bone. 

George Parkin Christian, a great-grandson of Fletcher Christian, was a notable scrimshaw artist. Around 1870, he carved a scrimshaw pendant in the shape of a killer whale and another depicting a whale hunt. Christian's maritime career included twelve voyages on the American whaling barque CHARLES W MORGAN and other US ships between 1876 and 1916.

A scrimshawed whale tooth signed "Christian," along with other whaling artifacts, is on display at the Australian National Maritime Museum in Sydney. 

The Norfolk Island Museum collection features a pair of beautifully crafted scrimshaw figures: a male and female dressed elegantly and looking toward each other, with the man holding a scroll.

The history of whaling on Norfolk Island is a complex and multifaceted story. By acknowledging the various perspectives and understanding the historical context, we can gain a more balanced and nuanced view of our heritage.

I am grateful to my ancestors for their vision, commitment, and hard work in building a better world for future generations. They faced challenges that we can scarcely imagine, and they made sacrifices to ensure our survival and prosperity. I respect their contributions and honour their memory.

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Transcript

Lower Lights, Whaling & Scrimshaw -

Welcome to Episode 17 of the Untold Norfolk Island travel podcast series.

My name is Jodie Williams and as a Norfolk Islander & Churchill Fellow, I am your ‘on island’ podcast host.

>>> Audio: You have just heard a snippet of the hymn tune ‘Let the Lower Lights be Burning’ as played by Phil McDowell on the Willis Organ at St Barnabas Chapel .

I, like many today, hold a deep reverence for whales. I am captivated by their sounds, their movements, and their majestic presence in the ocean. The idea of harming such creatures is, to me, deeply unsettling. However, as a descendant of Norfolk Islanders, I must also confront the reality of our whaling history, a heritage that includes my own great-grandfather, Louis 'Hookie' Bataille, was a harpoonist.

How can I, in my 21st-century world of convenience and technological advancement, truly understand the motivations and necessities of the whaling industry in Norfolk Island?

To judge the past from the comfort of the present is unrealistic without a deep understanding of the historical context, the economic realities, and the cultural values that shaped a necessity within a way of life. On Norfolk Island in the mid-20th century, resources were limited, opportunities were scarce, and self-sufficiency was paramount. In this context, whaling was not simply a job; it was a vital part of the island's economy and way of life. It provided food, oil, and other essential resources that sustained the community.

Speaking with elders who lived through this period provides invaluable insight into the challenges of island life. It allows us to appreciate the pride and sense of purpose that came from contributing to the community and mastering a specialized skill.

>>> AUDIO: Have a listen now, to Norfolk Islander, the late Puss Anderson as he shares his whaling experience.

The process of whaling was a dangerous and arduous task, requiring skill, courage, and teamwork. The whalers would set out in small open boats, spotting whales from a distance. Once a whale was sighted, the chase would begin, with the boat being rowed as quickly as possible towards the animal.

This excerpt from the Norfolk Island Museum Blog in 2011 details:

After each whale is safely handed over to the Shore Crews, the boat crews and those on shore and on the cliff tops would sing the ‘Doxology’, “Praise God from Whom All Blessings Flow”. And when we are towing late in the evenings people would light fires on the cliffs to help pilot us to land. Thus the wonderful old Whaling Hymn “Let the Lower Lights Be Burning” was always sung. -

>>> Have a listen now to a 1972 recording captured in the Methodist Church and the singing of this favourite hymn: “Let the Lower Lights Be Burning”

Scrimshaw, an art form born from the whaling era, involves intricate carvings on whale bones and teeth. 

The etymology of "scrimshaw" remains uncertain, with theories ranging from a Dutch nautical term meaning "to waste time" to connections with ancient Inuit art. 

The long hours aboard whaling ships, with the hazardous work of whaling limited to daylight, provided ample "free" time for sailors to engage in artistic pursuits. This leisure, combined with readily available materials, fostered the growth of scrimshaw as a unique maritime craft.

Early scrimshaw artists used rudimentary tools such as sailing needles or pocket knives to create their works. Artistic skill varied, with practice playing a significant role in the quality of the carvings. To enhance and darken the etched designs on the white bone "canvas," they used candle black, soot, or tobacco juice. Other materials used as fillers included soot from ship ovens, squid ink, lampblack, tobacco juice, or gunpowder mixed with whale oil.

During the 19th and 20th centuries, the art of scrimshaw was practiced on Norfolk Island by visiting whalers. These skilled craftsmen etched designs onto whale bones and teeth, rubbing ink into the carvings and then wiping it back to reveal the artwork within the bone. 

The exchange of techniques and ideas between whalers and island communities fostered a unique blend of artistic expression, further cementing scrimshaw's place in maritime history.

George Parkin Christian, a great-grandson of Fletcher Christian, was a notable scrimshaw artist. Around 1870, he carved a scrimshaw pendant in the shape of a killer whale and another depicting a whale hunt. Christian's maritime career included twelve voyages on the American whaling barque CHARLES W MORGAN and other US ships between 1876 and 1916.

A scrimshawed whale tooth signed "Christian," along with other whaling artifacts, is on display at the Australian National Maritime Museum in Sydney. 

The Norfolk Island Museum collection features a pair of beautifully crafted scrimshaw figures: a male and female dressed elegantly and looking toward each other, with the man holding a scroll.

These museum pieces serve as valuable resources for understanding the historical and artistic significance of scrimshaw, allowing visitors to appreciate the skill and creativity of the whalers and seamen who created these intricate works of art. The preservation of scrimshaw in museums ensures that future generations can learn about this unique maritime tradition.

Norfolk Island has undergone a significant transformation since the days of whaling. Our community is committed to preserving its unique cultural heritage while also embracing sustainable practices and environmental stewardship.

We are so very fortunate to live in a world where alternative resources are readily available. We no longer rely on whale oil for lighting or lubrication. We have access to a wide range of foods and materials that can sustain us without harming whales or other marine animals. This abundance of resources allows us to make more ethical choices and to prioritise the protection of the environment.

The history of whaling on Norfolk Island is a complex and multifaceted story. It is a story of economic necessity, cultural tradition, and environmental impact. By acknowledging the various perspectives and understanding the historical context, we can gain a more balanced and nuanced view of our heritage.

I am grateful to my ancestors for their vision, commitment, and hard work in building a better world for future generations. They faced challenges that we can scarcely imagine, and they made sacrifices to ensure our survival and prosperity. I respect their contributions and honour their memory.

Thanks so much for joining me this week.