After an incredible journey spanning an entire year, I’ve now reached the end of Season 1.

What began as a simple idea has blossomed into 52 extraordinary episodes where we've explored countless topics, shared old audios from my archival collection, and created a library of conversations that I hope will continue to provide curiosity, intrigue and inspiration, long after today.

Each week brought something new—and whilst creating each individual episode there would consistently be unexpected insights that seemed to connect and weaved together a capturing of the beauty of sound in voice and song, with moments of laughter and also tears, as well as profound reflections to share with you all about who we are as people and community, here on Norfolk Island.
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I hope I’ve been able to create episodes that aren't just standard recordings—but that they can be almost like time capsules of historical & heritage facts and events, emotions and points of view, and descriptive experiences that will remain available in this Podcast Series - Season 1 - for you to revisit whenever you need them.

I’d like to express my deepest gratitude to those who have listened - whether during during morning commutes, on weekend walks, whilst cooking dinner, or perhaps during those quiet moments when you needed inspiration or a reminder of ‘home’.

To those who discovered us along the way and decided to stay—thank you for giving us a chance and listening to our community. To the casual listeners who dipped in and out, choosing episodes that resonated with your interests—I appreciate your precious time within this busy world of ours. And to those who are just finding us now, welcome! You have 52 incredible episodes waiting for you to explore.

To wind up, I’d like to share a compilation of sound-bytes and snippets as a tribute collective randomly selected from across the 52 episodes.

AUDIO >>>

None of this would have been possible without the generous support of my sponsor, Baunti Tours and the team who believed in my vision from the very beginning. Their sponsorship allowed creators like me to focus each week on quality rather than quantity, to be able to support and yet also respect that each episode content ownership remains my own, as I’ve been able to concentrate on  authenticity rather than just algorithms.

Whilst this marks the end of Season 1, your journey through my content library is far from over. I encourage you—whether you're a long-time listener or just discovering this Untold Norfolk Island Travel Podcast—to explore the full collection of 52 episodes. 

Each one stands on its own as a complete experience, offering insights, layers of understanding about our way of life on the island, how we do things and who we are as a people and community.

Think of this collection as a resource you can return to whenever you need inspiration, a deeper understanding, or simply good company. These 52 episodes represent countless hours of preparation, recording, and editing—all designed to provide lasting value. They're not time-sensitive content that loses relevance; they're timeless conversations that can enrich your life whenever you choose to listen.

And from the bottom of my heart, thank you. Thank you for your time, your attention, your feedback, and your unwavering support. 

Whilst I’m saying goodbye for now, the conversations we've shared will continue to live on, ready to welcome new listeners and hopefully continue to enrich returni

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In a couple of my earlier podcast episodes, I have shared some of the recordings as captured in 1957, by linguist and fieldworker, Elwyn Flint from the University of Queensland. His visit to the island involved his capturing in sound recordings some of the first in-depth documentation into the Norf’k language.

Upon delving into the old typewritten copies of his journals, there was a list which highlighted 17 dialogues which he recorded on the island. Within my own collection, I had been gifted a copy of 10 of these, and I always wondered where the others that seemed to be missing were filed? The ten audios I had, were transposed from a record to digital format. And I would wonder, perhaps there had been another record copy which has been lost to time?

So, it was to my absolute delight, that this week, whilst re-filing and cataloguing old audio tracks, that I came across a file randomly named in numbers. I exported this file into my sound program to listen to the track. And now, I can share this with you all - the other dialogues which had been missing from Flint’s collection we have on hand!

Life for children on Norfolk Island during the 1950s was a remarkable blend of freedom, adventure, and tight-knit community spirit. Far removed from bustling cities, young islanders enjoyed a childhood defined by the rhythms of nature and the warmth of tradition. The island's rugged beauty became their playground, where every rock pool, every stretch of sand, and every winding forest track held the promise of adventure and discovery.

Norfolk Island’s geographic isolation often fosters self-reliance and creativity amongst our youngest residents. Particularly during the eras without television or modern distractions, children crafted their own entertainment from the abundant natural resources surrounding them.

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Norfolk Island stands as one of the most significant penal settlements in the British Empire's history. The stories of those who endured transportation, forced labour, and brutal punishment might have been lost to time were it not for the dedicated historians who committed themselves to documenting, preserving, and interpreting this complex colonial heritage. 

These past historians who dedicated their love of history to the documentation of Norfolk Island's penal heritage often faced numerous challenges. Primary sources were often fragmentary, biased towards administrative perspectives, and silent on the experiences of convicts themselves. Many records were lost, destroyed, or never created in the first place. Yet through creative methodologies—cross-referencing multiple sources, reading against the grain of official documents, and incorporating archaeological and oral evidence—these historians have contributed to our archival collection showcasing the many remarkably rich accounts of our remote Norfolk Island penal outpost. 

In this episode it is with thanks and appreciation again to the late John Anderson for the audio track segments from his 1980s film production on the island, and we pay tribute and gratitude to those past historians, Gil Hitch, Les Brown, Robert Varnam and Merval Hoare.

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In the 1980s, filmmaker John Anderson embarked on a remarkable endeavour to document Norfolk Island's rich tapestry of history, conservation, and heritage through the emerging medium of documentary film. Working with limited resources but boundless vision, John recognised that our remote South Pacific island held stories that deserved preservation and sharing with the wider world.

These pioneering films which he would show to visitors at his Cascade Hall venue captured the island's raw charm and unique cultural narratives, meticulously preserving stories of its early discover, convict past, Pitcairner settlement, and the delicate balance of its natural environment. John’s films revealed a place where history lived and breathed in every weathered stone and windswept Norfolk pine.

AUDIO>>> I would like to share now, a compilation of a collection of audio snippets from filmmaker, the late John Anderson in the 1980s.

These audios from John Anderson’s films are a treasure within my sound heritage collection which reveals the many hidden layers of Norfolk Island's people and place, beyond its scenic beauty.

John’s early visual storytelling helped lay a foundation for a heritage focus within tourism and demonstrated that even though we are small & isolated here on the island, our narratives are very much worth preserving and sharing.

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In the late 1960s, when the world was changing rapidly around them, one visionary man on Norfolk Island recognised that something precious was slipping away. Armed with pioneering sound recording equipment—a rarity in those days and costly to acquire for such a remote location—he embarked on a mission that would prove invaluable to future generations. John Anderson had moved to Norfolk Island when he was 12 years old with his parents.  Over the years, he not only had a passion for electronics, radios, film, aviation and the island’s natural history. He understood that the voices of Norfolk Island's elders carried within them the very soul of the island: stories of survival, tradition, and community life that had been passed down through generations of Pitcairners who arrived on the island and the next generations of Norfolk Islanders.

AUDIO >> have a listen now to his interview with Brad Adams and Alex Carr in 1970.

These precious recordings by John Anderson, have now found a new life in the digital age of today. His personal mission to document Norfolk Island's heritage has now allowed me to share this recording and allows for a personal glimpse into the daily rhythms of island life of the early islanders.

The transformation from analogue tape to digital podcast represents more than technological progress—it's a bridge across generations. Visitors to Norfolk Island can now prepare for their journey by listening to the actual voices of those who lived through the island's most formative years, understanding not just what happened, but how it felt to live through those times.

AUDIO >>> Have a listen now to the full recording of our hymn, Gethsemane as captured by John Anderson at a Methodist Church service in 1969.

These voices from the past can help to illuminate the present, gifting an understanding for visitors to the island that our Norfolk Island isn't just a destination—it's a living museum where every sunset carries the whispers of generations who call this tiny speck in the Pacific their home.

Today, as you explore Norfolk Island's dramatic coastlines and historic sites, I hope that this podcast series serves as an invisible guide, enriching every experience with the depth of understanding that only comes from hearing history told in the voices of those who lived it. 

This preservation in sound recordings ensures that the spirit of Norfolk Island—resilient, community-minded, and deeply connected to place—continues to resonate with each new generation of visitors who discover our extraordinary corner of the world.

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 Step into a world where heritage conservation meets hands-on craftsmanship and where the reverence for traditional tools and hand-worked mastery defined every restoration project in KAVHA. 

This KAVHA area is deeply seeped in a layered history—from early Polynesian occupation and navigation pathways, through successive British colonial architecture, to the traditions and way of life of the Pitcairn Islanders who arrived in 1856. 

Each era has left tangible evidence that requires careful conservation. 

This site encompasses a remarkable coastal lowland and bay with fringing reef on our Norfolk Island's southern foreshore. The site's recognition spans multiple heritage registers, culminating in its 2010 World Heritage inscription.

Our harsh Pacific environment poses continuous challenges with the salt spray, tropical storms, and natural weathering which demand ongoing conservation efforts using traditional materials and techniques.

AUDIO >> The late Puss Anderson held the role of Restoration Works Manager for 35 years until his retirement in 2010, and he was instrumental in developing this area. Puss was devoted to KAVHA and he was often sought out for his wealth of historical information and colourful stories. He was dedicated to his team of men who worked with him and their outstanding achievements of which he was justifiably proud. 

Working at KAVHA has been described like stepping into a treasure trove of discovery. Every restoration project could reveal new archaeological evidence—forgotten tools and artefacts, construction techniques, or building materials that tell stories of the craftsmen who came before. 

Heritage archaeologists who oversee excavation works with meticulous care, ensure that each discovery is treated with the respect and reverence it deserves, recognising that these finds connect today's tradesmen to centuries of skilled craftsmanship.

Cyclical maintenance represents a most crucial aspect of heritage conservation at KAVHA guiding regular, systematic care that prevents small problems from becoming major structural issues and understanding each building's unique characteristics, our seasonal behaviour, and vulnerability patterns. 

The significance of respectful conservation becomes immediately apparent as visitors explore the Commissariat Store, the Military Barracks, and the exquisite Government House. Each building tells its own story through well-preserved historical spaces which evoke powerful emotional responses, helping visitors to understand the human stories behind the stones and to develop deeper appreciation for the complex narratives embedded within Norfolk Island's heritage landscape.

The ongoing commitment to respectful restoration and maintenance of KAVHA's Georgian buildings represents more than preservation—it constitutes an act of cultural stewardship that honours both the architects and builders of the past and the visitors of the future. Through dedicated conservation efforts, these remarkable structures can continue to serve their highest purpose: inspiring wonder, fostering understanding, and creating meaningful connections between contemporary visitors and the profound historical narratives that shaped the Pacific region. Every restored building becomes a bridge across time, ensuring that Norfolk Island's extraordinary heritage remains accessible, authentic, and deeply moving for generations of heritage visitors yet to come.

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What is porpay?

Seasonally, Norfolk bestows a delicious gift, the red guava fruit. They grow in thickets in many parts of the island.  We call them "porpay" in the Norf’k language and they grow wild here.

To look at, the porpay grow about as round as a ten cent piece, and when they are ripe they are a very deep, dark burgundy colour and they have a glorious taste, something like a cross between a cherry and a sweet lemon. 

AUDIO>> In the warmth of her home kitchen, Ruth McCoy shares with us how she makes porpay jelly with all the delightful sonic ambience of gentle bubbling of fruit and sugar on the stove and the cooking preparation sounds as captured with my audio recorder. 

Highlighting how much we love our porpay, a local singing group have chosen to call themselves the 'Porpieh Jam’. It’s far more  than a clever name—they have forged a perfect circle connecting music, our Norf’k language, food, and community spirit. Their choice of name for their performance group represents the deep understanding that traditions are not compartmentalised into separate components, but are interweaved through all aspects of daily life, connecting the songs we sing to the food we prepare, to the language we speak and to the gifts that we share.

AUDIO>>> Have a listen now… to the local singing group ‘Porpieh Jam’

When guava season arrives on Norfolk Island, kitchens across our whole community come alive with purposeful activity. Each jar of porpay jelly represents hours of careful attention, but more importantly, it embodies the spirit of generosity that defines island life.

Jars of porpay jelly are tokens of affection and gratitude strengthening the social fabric that holds small communities together.

This practice of gifting transcends simple neighbourly kindness—it highlights our community networks of reciprocity and mutual support that are essential to our island life. When someone receives a jar of lovingly made porpay jelly, this jelly serves as a delicious reminder that some of the most valuable things in life cannot be purchased; they must be cultivated through patience, shared through generosity, and received with gratitude.

In a world increasingly dominated by digital connections, the simple act of making and sharing homemade jam represents a return to authentic human values. It reminds us that true wealth lies in the relationships we nurture, the traditions we honour, and the care we show for those around us.

We look forward to welcoming you to the island!

Thanks so much for joining me this week!

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Nestled in the vast expanse of the South Pacific, two remarkable islands share extraordinary histories whilst maintaining their own unique identities. Norfolk Island and Pitcairn Island, separated by thousands of kilometres of ocean, tell stories of human perseverance in some of the world's most remote locations, where small communities have carved out distinctive ways of life..

As a comparative, Norfolk Island is located approximately 1,600 kilometres east of Australia, and spans 35 square kilometres. Pitcairn Island sits approximately 2,000 kilometres southeast of Tahiti, and is a 4.6-square-kilometre volcanic outcrop that today, supports one of the world's smallest populations—just 47 residents as of recent counts. 

In this episode I’d like to share a very special interview with Tom Christian from Pitcairn Island who visited in Norfolk Island in 1986.

At just 17 years old, Tom's eyes were opened to the magical world of shortwave radio, sparking a passion that would define his life's work. His dedication extended far beyond his official duties as Chief Radio Officer on Pitcairn Island, as he became the island's primary link to the outside world, relaying messages, coordinating supply deliveries, and sharing news with ham radio operators worldwide. 

His 1986 visit to Norfolk Island created a special connection between the islands, strengthening bonds forged by our shared Bounty heritage. Have a listen now to Tom as interviewed by Kathy Lecren.

You have also just heard a recording of ‘In the Sweet by & By” as captured by Colleen Crane in 2013 when she visited Pitcairn.

It was in 2013 that Tom Christian passed away on Pitcairn Island. He was renown as ‘the voice of Pitcairn’. 

Norfolk Island and Pitcairn Island, separated by over 6,000 kilometres of churning ocean waters, share bonds that transcend geographical distance—connections forged through shared ancestry, common struggles, and an enduring sense of kinship.

In 1856 when the entire Pitcairn population relocated to Norfolk Island, it was during the years of 1859-1864 that some families returned to Pitcairn Island.

Historical migration is what anthropologists describe as a "transnational kinship network”—whereby families literally split between two islands, maintained connections across thousands of kilometres of ocean. 

Linguists have documented how certain phrases and expressions of the Pitcairnese and Norf’k language have evolved differently on each island but that  communicative bonds have been preserved and reminds us that distance, however vast, cannot sever the bonds of shared history and family connection.

Thanks so much for joining me this week!

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 Since the arrival of the Pitcairners in 1856, Norfolk Island has celebrated seven residents who reached the remarkable milestone of 100 years. Unlike many modern societies where the elderly are sometimes marginalised, Norfolk Island continues to value and honour its older people in meaningful ways.

When someone reaches their centenary on Norfolk Island, the community acknowledges this extraordinary milestone in a special way that both celebrates the individual and enriches the island. One hundred plants are established somewhere on the island in their honour, creating living memorials that transform the landscape and provide visitors with unexpected discoveries of beauty and history.

Finding these commemorative plantings—whether along an avenue, at a scenic lookout, or in a garden—offers visitors a meaningful way to explore the island while connecting with its living history. Each collection of 100 plants tells a story not just of longevity, but of a community that honours its elders through sustainable, growing tributes that become increasingly beautiful with the passage of time.

Jemima Robinson, affectionately known as 'Aunt Jemima', holds the distinction of being Norfolk Island's first documented centenarian. When she turned 100 on 13 September 1970, a tradition was born that would honour all of Norfolk's future centenarians. In her memory, 100 Norfolk Island pines were planted along Country Road towards Kingston, near Watermill dam.

A teacher by training, a mother by vocation, with a beautiful singing voice, Aunt Jemima raised eight children, and exemplified the strong, resourceful character that is common amongst Norfolk's elders.

One story that captures Aunt Jemima's determination involves an occasion when, needing to deliver an urgent message to her husband Enoch (thought to be on Phillip Island), she placed her children in a boat and personally rowed across the challenging 6½ kilometre channel. Finding he wasn't there, she simply rowed back - a remarkable feat of strength and determination.

In an extraordinary family pattern of longevity, one of Norfolk Island's most recent centenarians was none other than the daughter of its first. Sylvia Esther Nobbs, known affectionately as 'Girlie', was Aunt Jemima's sixth child. Born on 18 March 1910, Girlie carried forward her mother's legacy of longevity, reaching her own 100th birthday in March 2010.

An enthusiastic gardener and sportswoman, Girlie maintained an active lifestyle well into her advanced years. Many recall seeing her zipping down Taylor's Road in her car almost until she reached her milestone 100th birthday—a testament to her independent spirit and vitality. 

A common thread running through the lives of Norfolk's centenarians suggests a lifestyle full of physical activity, meaningful social connections, purposeful daily activities, and a positive outlook. From Aunt Jemima's remarkable rowing expedition to Girlie's enthusiastic gardening well into her 90s, these centenarians maintained active lifestyles throughout their lives.

Our other centenarians: Charlotte ‘Mum’ Bailey, Ruby Matthews, Gordina Beveridge, Hazel Martin and Ralph Weslake.

Our social infrastructure on the island—where older people remain valued, included, and respected—may well contribute to the psychological wellbeing that supports longevity.

Rather than viewing advanced age as a private milestone, Norfolk Island celebrates it as a community achievement worthy of public recognition and lasting tribute. 

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The Pitcairn Register stands as a most significant historical document for the people of Norfolk Island, representing our unique heritage. Created by John Buffett on Pitcairn Island in the early 19th century, this meticulous record chronicles the births, deaths, and marriages of the community from January 1790 until 1854.

Here, on Norfolk Island as we prepare to celebrate next year in 2026, the 170th anniversary of the Pitcairn Islanders' relocation, an ambitious fundraising campaign is underway to bring this treasured register home from the Royal Museums Greenwich in England. This initiative was instigated by Merv Buffett and Clare McPherson on Norfolk Island.

John Buffett, who arrived on Pitcairn in 1823 was not a mutineer himself but became an integral part of the island's legacy as he  began the painstaking work of documenting the island's demographics. The Register he created was not merely a bureaucratic document but a conscious effort to preserve the identity of a unique society that had emerged from extraordinary circumstances.

What makes the Register particularly remarkable is that it records not just the European mutineers but equally documents the Polynesian women and together, their children.

For the descendants of the Pitcairn Islanders now living on Norfolk Island, the Register represents far more than a historical curiosity. It serves as a tangible connection to our origins and a foundation document for our unique cultural identity.

As a living legacy, the Register embodies the remarkable story of cultural resilience. It charts how a community born from dramatic circumstances—mutiny, flight, and the meeting of different worlds—managed to forge a stable society with its own distinctive identity.

The Norfolk Island Museum Trust's campaign to temporarily bring the Pitcairn Register from the Royal Museums Greenwich represents a significant cultural moment. Planned as the centerpiece of celebrations marking the 170th anniversary of the Pitcairn community's relocation to Norfolk Island on 8 June 1856, the exhibition promises to be much more than a simple display of a historical document.

AUDIO >>Have a listen now to Norfolk Islander, Pauline Reynolds as Chair of the Norfolk Island Museum Trust

For visitors to Norfolk Island in 2026, the exhibition of the Pitcairn Register offers a rare opportunity to engage with a remarkable chapter of Pacific history.

Visitors may be drawn to the human drama behind the Register—a tale of mutiny, survival, and the founding of a new society that can often read like an adventure novel but in actual fact, is documented with remarkable precision.

The opportunity for visitors to meet descendants of the families recorded in the Register while visiting Norfolk Island creates a living connection to history that few tourist destinations can offer—history that walks and talks among our visitors.

Beyond historical interest, many visitors find themselves reflecting on broader themes that resonate in our contemporary world: how communities forge identities, the importance of keeping accurate records for future generations, and how small, isolated groups maintain cohesion and purpose. In an age of digital records and globalization, the handwritten Pitcairn Register stands as a powerful reminder of how historical documentation helps communities stand strong, understand themselves and preserve their unique ancestry across generations.

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Norfolk Island's governance history since 1856 offers visitors far more than academic interest—it provides essential context for a deeper, more meaningful engagement with this remarkable place and our people. Understanding this history transforms a holiday visit from one layer of experience of scenic beauty to a deeper dive and encounter with a resilient community and our own distinctive heritage of identity and belonging.

AUDIO>> Have a listen to Norfolk Islander, George Smith who served on our Norfolk Island Legislative Assemblies and was also instrumental in our radio broadcasting world for many years.

The chronicle of Norfolk Island's governance invites reflection on universal themes of autonomy, justice, and cultural survival. Visitors gain insight into how small communities navigate relationships with larger powers—a dynamic playing out in countless contexts around the world today.

AUDIO>> Have a listen now to ‘Edelweiss’ as performed at the Anchorage restaurant in the 1980s.

Understanding the Present
The island's contemporary character—from our unique language to our community celebrations, chronological historical timeline and events along with the ongoing political debates—becomes comprehensible only through the lens of its governance history and recognition of autonomy and self-determination.

Knowing the struggles, setbacks, and aspirations that have shaped Norfolk Island allows visitors to connect emotionally with the community rather than remaining distant observers, and thus creating a more satisfying and authentic holiday experience for thoughtful travellers.

For those interested in history, Norfolk Island offers a fascinating understanding in how governance shapes community development. Our island's unique trajectory—from the arrival of the Pitcairn Islanders in 1856-  defies easy categorisation. This complexity makes Norfolk Island not just beautiful but intellectually engaging, a place where visitors can continue to discover new layers of meaning with each interaction with our community as we share our remarkable past and a hopeful future still being determined by our resilient people.

Thanks so much for joining me this week!

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In this episode let’s discuss a few of the reasons that Norfolk Island is described as being a world apart. What makes Norfolk Island truly unique is not just its natural beauty or historical significance, but the way it often exists as a complete world unto itself—with its own distinct character, customs, and contradictions that set it apart from other destinations.

Travelling here is not the same as visiting anywhere in Australia or New Zealand, or for that matter, elsewhere in the South Pacific.

For example, we have a unique road etiquette whereby drivers wave to each other in passing, there is free parking everywhere, a speed limit of 50 km/hour, and cows have the right of way on all roads at all times!

A distinctive character of the island creates what many visitors later describe as a sense of "connectedness"—not only with the people of Norfolk but also with the place (the environment), its past (the lessons from history), and, above all, with themselves and their loved ones. This multidimensional connection is what makes a Norfolk holiday experience both moving and memorable.

It was in 2009 that a tourism initiative on the island began with the establishment of a local branding committee. This committee appointed Mahesh Enjeti from SAI Marketing as a Brand Architect, whose role was to develop a comprehensive set of destination branding guidelines. His approach included community workshops, visitor interviews, participation in local tours and activities, and deep research into Norfolk's history, customs, and way of life.

After immersion into Norfolk Island's community, Mahesh adeptly submerged himself "heart and soul" into the project. On 20 March 2009, a tourism brand was formally launched as: "The World of Norfolk - Small world. No small wonder."

During this on-island tourism exercise, the concept of a "lovemark" entered the branding committee's vocabulary through an inspirational book, "The Lovemarks Effect." What exactly is a lovemark? And why was it particularly relevant to Norfolk Island?

A lovemark is a concept seen to supersede traditional branding practices. "A lovemark 'inspires loyalty beyond reason'. The originator of the concept of lovemarks is Kevin Roberts, CEO worldwide Saatchi & Saatchi. He describes a lovemark as 'reaching your heart and well as your mind... creating an intimate, emotional connection that you just can't live without. Ever.'"

For many of us here, our island is already a lovemark—a place that anchors our hearts and souls, our home and heritage. It was already apparent in visitor behaviour, as many return to the island repeatedly over the years—with one couple reportedly visiting 22 times!

Often first-time visitors to the island aren’t sure what to expect from their holiday. Many believed they could cover the entire island in a matter of days, given its small physical size (5km by 8km).

This initial perception, however, quickly gives way to astonishment and pleasant surprise when visitors discover that even a week was not long enough to experience all that Norfolk had to offer.

Another of our unique and distinctive features is our Norf’k language - A fieldworker, Elwyn Flint, was a linguist from the University of Queensland, who visited the island and conducted some of the first in-depth scientific investigation into the language of Norfolk Island in 1957. Listen to an audio snippet.

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In this episode let’s step into the rich tapestry of Norfolk Island's sound heritage through the vibrant community performances held at our iconic Rawson Hall with a special focus this week, on the Maori performance group 'Te Wa Kainga'.

Rawson Hall has long served as a cultural epicentre of our small Pacific community. 

Philip Hayward in his book publication ‘Bounty Chords’ shares:

It was in 1977, that the Norfolk Island Lions Club sponsored a significant cultural exchange, bringing a Maori performance troupe from New Zealand to the island.

The visiting troupe delivered two remarkable concerts at Rawson Hall.

An emotional highlight came during the finale when the visitors performed "The Ship of Fame" first in English and then in Maori with accompanying actions. The performance was described as giving audience members "goosebumps" and was remembered as "a most beautiful finale to the evening and a wonderful gesture on the part of the group."

In 1980 a local Maori song and dance concert group was formed and called ‘Te Wa Kainga’ meaning ‘home away from home’. This comprised (in the main) New Zealanders working on Norfolk on short-term visas and a number from the Norfolk residents with New Zealand connections and family.  

One founder member, Rosie Saint brought a rich cultural background to Norfolk Island. Growing up in Auckland in a Cook Islander/New Zealand family, music and dance were integral parts of her upbringing. Reflecting on her childhood, Rosie recalled that "you went to school for the music as much as to study!"

Arriving on Norfolk Island around the same time as Rosie, Eunice Vercoe also grew up in a Maori family in New Zealand. Together with Rosie, she became instrumental in establishing and guiding Te Wa Kainga. Their shared cultural heritage and passion for preserving Maori traditions created a strong foundation for the group.

The development of Te Wa Kainga's performances wasn't simply a matter of replicating existing Maori traditions. Instead, as Norfolk Islander Jeanine Snell described, our "dance choreography evolved from our practice meetings." This organic, collaborative process involved members "putting different moves together from different tribes," creating something both authentic and unique to their particular circumstances on Norfolk Island.

This creative evolution extended beyond movement to encompass language and cultural interpretation. As a group comprising members from various Maori backgrounds, they encountered "different pronunciations of Maori words." Rather than declaring one version correct, they would "sit and talk and decide how to say things." Jeanine noted that "those talks were great in themselves," highlighting how the process of negotiating cultural expression was as valuable as the performances that resulted.

 As Jeanine Snell explained, the group aspired to "put on good shows with the proper materials—which were difficult to get on Norfolk." 

 Without access to proper materials or substantial funding, they resorted to "painting yards of material with textas [markers]" to achieve the desired visual effect. Jeanine recalled that "once we borrowed piu piu's [traditional Maori skirts made of flax strips] from my son's school in New Zealand."

AUDIO>> As co-founder and leader of performances, Rob Ropati played a crucial role in shaping the group's public presence. His leadership during the 1981 Rawson Hall performance - is captured in the following audio recording.

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The story of Methodism on Norfolk Island begins with an extraordinary twist of fate in 1879. Alfred H. Phelps, serving as a ship's cook aboard the American whaling vessel 'Canton', fell gravely ill whilst the ship was in the Friendly Islands. The captain, recognising the severity of Phelps' condition, made the practical decision to seek medical assistance at the nearest available port—Norfolk Island.

What makes this tale particularly remarkable is that Phelps was not merely a cook, but a lay preacher with a calling to spread the Methodist faith. His illness, which could have been a mere inconvenience, became the catalyst for establishing an entirely new religious denomination on the island. After his recovery, Phelps recognised what he perceived as a spiritual need amongst the Norfolk Island community and felt compelled to remain and minister on the island.

For three years, from 1879 to 1882, Phelps conducted his ministry before returning to America. However, his commitment to the Norfolk Island community was so strong that he returned in 1884, this time accompanied by his wife, arriving on 5th June.

The growth of the Methodist congregation necessitated larger premises, and permission was eventually granted by the Chief Magistrate to utilise the old Military Barracks at Kingston.

The Methodist community faced a significant transition when Alfred Phelps died on 29th October 1890 and was laid to rest at Kingston. His widow courageously continued the ministry until 6th February 1891, when she too returned to America, leaving the fledgling church without its founding leadership. This period could have marked the end of Methodist influence on Norfolk Island, but the community's faith proved resilient.

A succession of preachers from New Zealand, working alongside dedicated local laymen, maintained the Methodist tradition from 1891 until 1902. 

The Methodist community's growth and stability were demonstrated through an ambitious building project that began in April 1923. On land generously donated by Mrs Byron Adams, work commenced on constructing a new church at Middlegate. This project exemplified the community spirit that had become synonymous on the island—trees were donated by local residents, and all labour was provided voluntarily by community members.

The ongoing steady expansion of church facilities reflected the growing needs and prosperity of the Methodist community. Each addition represented not merely physical growth, but the community's evolving role in island life, from spiritual guidance to practical social services through initiatives like the Opportunity Shop.

"Brightly Beams", also known as "Let the Lower Lights be Burning," is one of our most beloved traditional Norfolk Island hymns, with deep connections to the whaling era of the 1870s onwards. Written by American composer Philip Bliss in 1871, this hymn carries profound nautical themes centred on the metaphor of lighthouse guidance.

Travel offers us one of life's most extraordinary gifts: the opportunity to step into an entirely different world, each with its own rhythm, stories, and soul. Yet too often, we find ourselves skimming the surface—ticking off landmarks, snapping photos, posting to social media and moving on without truly connecting with the places we visit. The most enriching journeys happen when we dare to dig deeper, to listen closely, and to open our hearts to the profound stories that every destination has to tell.

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 Welcome to Episode 38 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 - A snippet of ‘Don’t Fence Me In’ - captured at a 2011 singalong at an island home.

In this episode we are going to delve a little deeper into the place names of Norfolk Island.

Previously in Episode 8, I introduced excerpts from Dr Joshua Nash's book, ‘Norfolk Island Placenames’ which represented a contribution to the preservation and understanding of the island's linguistic heritage. Josh interviewed a number of islanders as he compiled and documented his book publication and he shared with me these audio recordings which now form part of my oral history collection.

It is through the careful preservation of our elders' knowledge in oral history formats contributes to enriching the experience of visitors to our island who may be seeking authentic cultural immersion.

Many small island communities often possess complex systems of placenames that exist in parallel to official cartography. These are embedded within, in our case here on the island, the local Norf’k language. Unlike standardised English maps, which frequently anglicise or replace traditional names, oral histories preserve placenames that convey cultural significance, historical events, geographical features, or practical knowledge about a location.

AUDIO>> Have a listen now to excerpts from Josh Nash’s interview with Norfolk Islander, Joy Cochrane (nee Christian) as they peruse a hardcopy outline of a Norfolk Island map and discuss placenames and areas.

Audio  >>You have just heard the song “The Right Whale” as composed and sung by Norfolk Islander, George ‘Toofie’ Christian. This song is one from his album Pilli Lornga NI which means 'sticking to' in the Norf’k language.


Many small island communities lack funding for comprehensive documentation projects, technical expertise in archival methods, or infrastructure for maintaining digital collections. When oral histories are recorded through external research projects - such as the Placenames project by Dr Josh Nash, there can be a risk in the loss of access to our own knowledge if researchers fail to provide accessible copies of recordings or transcripts. It is with appreciation to Josh for sharing these interview audios with me, so I can share them with you.

Ultimately, the preservation of placenames, fishing marks, and associated oral histories represents a form of cultural resilience in the face of homogenising global influences. These knowledge systems remind us that there are multiple ways of mapping, naming, and understanding our world—and that some of the most sophisticated navigation techniques arise not from modern technology but from generations of careful observation and intergenerational wisdom. By valuing and preserving these traditions, we maintain not just cultural diversity but also vital perspectives on sustainable human relationships with the land and sea.

A project currently underway is a published artwork of placenames upon a map of Norfolk Island as assembled by the Language Commission and supported by the Council of Elders - This printed map will be available for visitors to complement the standard English directional map version that you receive when you arrive here.

We look forward to welcoming you here!

Thanks so much for joining me this week!

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In this episode, let’s discuss the role of ‘Hansard’ as the official, substantially verbatim report of parliamentary proceedings. Named after Thomas Curson Hansard, who first published debates of the British Parliament in the early 19th century, Hansard serves as the authoritative record of what is said in parliamentary chambers.

For Norfolk Island, our heritage collection of published Hansard documents represents more than just transcripts—it embodies the island's unique journey of governance and political identity.

The creation of Hansard is a meticulous process that combines skilled transcription, editorial judgment, and technological support.

On Norfolk Island, this process began with the recording of all parliamentary proceedings using audio equipment. Hansard reporters would transform these recordings into type-written text, working to tight deadlines to ensure timely publication.

Our Hansard records document speech, motion, question, and debate that occurred during Legislative Assembly sittings. It captured the words of elected representatives as they discussed issues ranging from infrastructure and education to cultural preservation and economic development. While minor grammatical edits may be made for clarity, Hansard aims to preserve the authentic voice and intent of each speaker, ensuring a faithful record of parliamentary proceedings.

Each Hansard document was published online and is part of our Norfolk Island official record.

Beyond merely recording words, Hansard serves as a critical democratic tool that promotes transparency and accountability in governance. It allowed our Norfolk Island community to monitor their elected representatives' positions, promises, and performance. For a small community like Norfolk Island, where governance impacts daily life so directly, Hansard provided an essential link between our  Legislative Assembly sittings and the people it served.

In 1997 a Youth Assembly was established in Norfolk Island, to support our young people with active insights and participation in democratic processes, parliamentary procedure, and our island's governance history.

The Norfolk Island Youth Assembly represented a groundbreaking initiative to engage young islanders not only in democratic processes and but to also foster experience and skills in governance leadership. Established through collaboration between the local school, the Legislative Assembly, and community mentors, this program provided students with a hands-on experience in parliamentary procedures, debate, and policy development. The Youth Assembly mirrored the structure and functions of the adult Norfolk Island Legislative Assembly.

AUDIO>> Have a listen now to George Smith as he shares his invaluable role as one of the primary instigators of the creation of Youth Assembly in 1997, and also as a mentor from the Norfolk Island Legislative Assembly.
 
By connecting Norfolk Island's youth directly with their governance heritage and democratic processes, the Youth Assembly program supported the continuation of the island's strong tradition of community participation and self-governance. Students learnt to use formal modes of address, present arguments clearly and respectfully, and navigate the rules of debate. 

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 In isolated island communities such as our Norfolk Island, local initiatives form the backbone of development and sustainability. 

In this episode, it is with much appreciation to a beautiful lady, affectionately called 'Truk'. Lorraine Walker (nee Hayde) was recently back here on the island and she generously shared her memories with me to give background insight into some of the sound heritage recordings I have in my collection : a children’s radio program which she hosted called ‘Out of the Mouths of Babes’ and also her involvement with a collection of fundraising cabaret performances hosted at Rawson Hall to raise essential funds for our VL2NI local radio.

This is an insight into how grassroots initiatives not only address practical needs but also strengthen community bonds and resilience in isolated environments where resources and external support are limited.

Isolated island communities such as our Norfolk Island face unique challenges. In particular, our physical geographical isolation creates a distinctive community dynamic where self-sufficiency and internal cooperation become not just desirable but necessary for survival and quality of life.

Our Norfolk resourcefulness and interdependence, stems from an understanding that many needs must be met through collective action rather than external provision.

A strength of our isolated Norfolk Island community is found in our connections with each other. Volunteering and fundraising together weaves a layer of fabric that holds such communities, like ours, together through challenging times.

As we explore the cabaret performances of the late 1970s-80s we uncover distinct advantages over other fundraising models. The variety-show nature of cabaret - combining music, comedy, dance, and theatrical elements - creates multiple opportunities for participation, allowing community members with diverse talents to contribute.

AUDIO>>> Have a listen now to Lorraine Hayde as she shares with us her memories and involvement with radio and fundraising performances on the island…

These cabaret fundraisers which were held at Rawson Hall exemplifies how grassroots mobilisation can effectively address community needs in isolated settings. By leveraging local talent, volunteer energy, and shared commitment to a common goal, our small island community successfully generated the resources required for essential radio equipment while simultaneously strengthening social bonds and collective identity. The initiative demonstrates that effective community development in isolated contexts often emerges not from external intervention but from internal capacity activated through meaningful shared endeavours.

If you happen to be visiting the island when a fundraising event is taking place, you are most welcome to come along and perhaps you might gain valuable insights, if you are from other isolated island communities facing similar resource constraints and infrastructure needs. On Norfolk we have traditionally approached practical problem-solving with social connection, addressing tangible needs while nurturing community bonds that form the foundation of resilience on our island. Thoughtfully designed local fundraising initiatives like the Rawson Hall cabarets remind us of the multiple layers of benefit from single collaborative efforts.

Thanks so much for joining me this week!

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In this episode we pay tribute to the late Kathy Lecren who hosted a weekly VL2NI radio program entitled Norfolk Notes in 1985. Have a listen to the following excerpts read by Kathy from the books written by historian and author, Merval Hoare. You’ll hear a snippet about Allan Cunningham, a botanist on the island in 1830, Bishop Selwyn and the Melanesian Mission on the island, an overview of convict drownings at the Bar.

Allan Cunningham was probably the first person to systematically list the plants of Norfolk Island. At the time of his visit, very few of the endemic plants had been named, the majority being described and named by the Austrian botanist Stephano Endlicher three years later, in 1833, based on the collections and drawings of Ferdinand Bauer who visited Norfolk in 1804/05. After five weeks on Norfolk Island a moderation of the rough weather allowed Cunningham to be taken to Phillip Island, along with three servants and an army officer. The visit was not without its problems, the most serious of which was an attack on Cunningham and his party by eleven escaped convicts. 

Merval Hoare was born Wellington New Zealand in 1914, her schooling developed early interests in music, prose and poetry. She was married in 1949 and lived with her husband, who worked for Civil Aviation, on Norfolk Island for much of her life, working as a correspondent for Pacific Islands Monthly and writing about the history of the island. She was awarded an MBE on Norfolk Island in 1983.

The Member of the Order of the British Empire (MBE) recognises outstanding achievement or service to the community that delivers sustained impact and stands as an example to others.

The Order of the British Empire was established in 1917 by King George V during the First World War. 

The Order maintains a distinctive place in the honours system by focusing specifically on services to the community, charitable work, and public service excellence. For Norfolk Island, with its unique historical relationship to the British Crown, being awarded an MBE represents recognition at the highest level for service that stands out in its field.

Recipients have typically devoted significant time and energy to improving conditions within their communities, often over many years or decades. This might include volunteer work, charitable endeavours, or civic leadership that has brought about positive change.

The contributions made by MBE recipients have demonstrably improved lives, institutions, or practices in ways that can be clearly identified and measured. 

Those who receive the MBE typically embody values of integrity, dedication, and selflessness. Their personal conduct serves as a model for others in their community or field, inspiring similar dedication to service.

Many recipients have introduced new approaches or achieved exceptional standards in their field, whether in arts, education, healthcare, business, or community organisation.

For Norfolk Island recipients, their MBE reflects not only on themselves as individuals but also the Norfolk Island community they represent and have served. 

The following is a list of Norfolk Island MBE recipients:

1935Enoch Cobcroft ROBINSON Esq.- MBE
1957Charles Ivens (Potts) BUFFETT- MBE
1964Kathleen Janet WELSH- MBE
1968Fay Norma BATAILLE- MBE
1969Gordina BEVERIDGE- MBE
1978John Healey RYVES- MBE
1979Bonnie Ann QUINTAL- MBE
1983Merval Hannah HOARE- MBE
1985Eric Nelson CRAIG- MBE

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In this episode we are going to explore two distinctive traditions that have shaped the island's identity - the traditional craft of plaiting and the vibrant musical cabarets of the 1970/80s.

The Traditional Plaiting of Island hats

Learning to plait traditionally occurs within family settings, with knowledge passed from elders to younger generations through demonstration rather than formal instruction. Learning in this way ensures that subtle techniques are fully absorbed from the precise tension required for different fibres, the handling of transitions between plaiting and sewing together the hat, and the finishing methods that ensure durability.

Traditionally plaited hats represent far more than practical accessories on Norfolk Island; they embody cultural identity, social connections, and historical continuity. As one of the most visible expressions of local craftsmanship, the wearing of these hats have become powerful symbols our Norfolk heritage.

Many Norfolk hats within island families are treasured and preserved as family heirlooms rather than worn regularly, becoming repositories of family history - especially if they had been made by a family member who has passed and whom you wish to honour and remember by taking care of the hat and bringing it out to wear on special Norfolk events and commemorations. 

A Norfolk hat represents not only individual craftsmanship but participation in a living tradition that spans generations.

AUDIO>> Listen to Norfolk Islander Greg Magri as he shares his knowledge and insight into the materials, techniques and cultural significance of Norfolk Island's plaiting tradition.

And now, an audio snapshot of another rich component of our sound heritage collection > our love of music through the eras and community music events that brought locals together. This next collection of recordings was captures one of our community cabarets that celebrated the Beatles' extensive song catalogue. These events, were typically held in the historic Rawson Hall, represented a distinctive fusion of global popular culture and local community expression that continues to resonate in island memory.

The cabarets emerged organically from Norfolk Island's strong musical tradition, with local musicians gathering to recreate the complex harmonies and innovative instrumentation that characterized the Beatles' work.

These musical events were distinguished by their inclusive nature and voluntary participation. Unlike commercial performances, the Beatles cabarets operated on principles of community contribution, with islanders sharing musical talents regardless of professional training.

Behind-the-scenes roles were equally valued, with volunteers from the community contributing to the event organisation, refreshments and venue preparation. The communal nature of the experience - gathering in Rawson Hall with family & friends  - created emotional connections to the music that differed significantly from individual listening.

>>> AUDIO: A themed Beatles cabaret as held in Rawson Hall

Travelling to Norfolk Island offers so many holiday experiences combining natural beauty, fascinating history, and living cultural traditions. With thoughtful planning, you will be able to move beyond surface-level tourism to develop meaningful connections with our  island's distinctive heritage.

We look forward to welcoming you here!

Thanks so much for joining me this week!

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The Norfolk Island Country Music Festival was born in 1993 from the creative vision of its Patron, Gayleen Snell, who gathered a dedicated group of volunteers around her kitchen table to discuss an ambitious idea: staging a country music festival that would bring performers and enthusiasts together for a week-long celebration of music
The first lineup featured predominantly New Zealand artists with an Australian headliner, establishing what would become a friendly trans-Tasman rivalry that defined the festival for years to come.

Over the years, Norfolk Island welcomed some of the most celebrated names in country music to its shores, creating unforgettable experiences for fans. 

Long before the official Country Music Festival was established, Norfolk Island had already attracted notable musical talent. In 1983, American musician Jimmy Buffett visited the island and performed at the historic Rawson Hall—the same venue that would later host the inaugural Country Music Festival.

The connection between Buffett's music—with its themes of island life, escapism, and laid-back enjoyment—and Norfolk Island's own identity as a peaceful retreat created a natural synergy. This alignment between artist and location exemplified how Norfolk Island could leverage its unique character and setting to create distinctive cultural experiences, a formula that the Country Music Festival would later expand upon successfully.

A live recording of this concert was preserved, becoming a treasured piece of Norfolk Island's musical heritage. The compilation captures not just Buffett's performance but also the atmosphere of the event and the enthusiastic response of the audience, providing a valuable audio snapshot of this cultural moment.

_____________

The Tree of Knowledge
At a crossroads where several important island roads historically met stood a landmark of profound cultural significance: the Tree of Knowledge. This single tree served as the island's communication hub, community bulletin board, and social gathering place rolled into one. 

During World War I, the Tree of Knowledge took on increased importance as cable messages were posted there, providing critical updates about the war and the forces. This wartime role cemented its status as an official information source. Over time, its function expanded to include every type of announcement imaginable.

The deep emotional attachment to this living institution became painfully evident when the tree was slated for removal during airport construction.

The loss of the Tree of Knowledge represented more than just the removal of a landmark; it symbolized the disruption of traditional communication patterns and gathering practices that had defined island life for generations. 

Yet the airfield would ultimately become an essential part of Norfolk Island's future, opening up new possibilities for tourism and connection to the wider world—including eventually making the Country Music Festival possible by facilitating easier visitor access.

While the Norfolk Island Country Music Festival no longer takes place on the island, its legacy continues to influence the community's cultural landscape and tourism approach.

The same stunning landscapes, welcoming community, and sense of peaceful removal from everyday concerns that attracted festival-goers continue to enchant today's visitors, creating new memories in a place where music and history easily harmonize.

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Discover how Norfolk Islanders maintained our way of life through resourcefulness and cooperation. 

Establishing homes on the island when the Pitcairners arrived, presented immediate challenges. Chief among these was securing a reliable water source, a necessity that shaped the settlement patterns and community development for generations to come.

The digging of wells was a tradition that instilled a deep respect for water resources with many of the original wells on the island now preserved as reminders of the ingenuity and perseverance of the community.

Before the first shovel of earth was turned for a new well, the islanders faced a critical challenge: determining where to dig. With limited technical equipment and no geological surveys, communities turned to the ancient practice of water divining, also known as dowsing, to locate underground water sources.

In Merv Buffett’s “Homegrown” Book, he shares how a well was traditionally dug on the island.

One of the most distinctive features of Norfolk Island's cultural heritage has been its tradition of  shared agricultural garden spaces which represented far more than mere food production – they embodied the island's collective spirit and sustainable approach to resource management.

Gardens were strategically positioned to maximize sun exposure and natural drainage while minimizing wind damage. Typically surrounded by banana plantations as windbreaks, these gardens were worked together by families during planting and harvest seasons.

The social fabric of Norfolk Island was woven through daily practices of cooperation and resource sharing that extended far beyond the communal gardens. This tightly-knit community developed sophisticated systems for collaborative food production and distribution that ensured survival while strengthening social bonds across generations.

Fishing expeditions exemplified the island's collaborative spirit. Crews consisting of members from multiple families would set out in boats built through communal labor. Using techniques refined over generations, these fishing parties targeted different species depending on season and weather conditions. The catch would be brought ashore to share with other community members who also helped to process the fish. Distribution often considered family size, participation in the expedition, and special needs within the community.

Special provisions were made for community members experiencing hardship. When illness struck a family, neighbors would automatically increase their share of contributions to communal work while ensuring the affected family received necessary resources. This safety net operated without formal organization, embedded instead in cultural expectations of mutual support.

Living on an isolated island without modern conveniences like refrigeration and electric appliances, the early Norfolk Islanders developed ingenious methods for food preparation and preservation that sustained their community through all seasons. These techniques, often blended influences from Pitcairn Island and Polynesian traditions and created a unique culinary heritage that defined island life.

Understanding that water conservation on Norfolk Island isn't merely an environmental practice but a cultural tradition with deep historical roots will enhance your appreciation of local customs. The island's approach to water represents generations of accumulated wisdom about sustainable living in an isolated environment.

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 Bounty Day is a significant annual celebration on Norfolk Island, commemorating the arrival of the Pitcairn Islanders on June 8, 1856. The festivities showcase our distinctive cultural identity where this living tradition brings together Norfolk Island families in period costume for a day filled with ceremonies, processions and feasting.

Bounty Day (or as it is traditionally known as Anniversary Day) stands as more than just a historical commemoration—it represents a living connection to our Norfolk community’s unique cultural identity. For island families this celebration reinforces our distinct heritage and sense of belonging. This annual event serves as a cultural touchstone that helps preserve language, customs, and community values.

Unlike many historical reenactments worldwide that commemorate events from distant history, Bounty Day maintains an intimate connection to living memory. We trace our lineage directly to those who arrived in 1856, creating a personal direct connection in the celebration that transcends mere historical interest.

AUDIO>  Granny Quintal in 1956

Traditionally the style of dress for the women, was documented by Rachel Nebauer in her article in the booklet ‘Women as Agents for Change’ - CPA 2011 :

In early June 1856, apart from the Morayshire, H.M.S. Herald was at the Island doing surveying work......

They finally all disembarked on June 8th and Frederick Howard working on board the Herald had an opportunity to spend some time with the Pitcairners during the first few weeks of their arrival. He shared ‘I think the women never spoke without a smile’ which he took to be ‘a sign of a happy mind’.

Their petticoat is generally made of blue cotton drill and the upper thing which domes down within 18 inches of the ground, and shows the blue below, is of white cotton or calico and looks very well. They always go around with white pocket handkerchiefs round their necks which they sometimes tie round their heads in lieu of bonnets’.   

Once all participants have assembled, the formal procession begins its journey down Pier Street toward the Cenotaph. Community members walk together in family groups, often spanning multiple generations, creating a living tapestry of our genealogical heritage.

At the Cenotaph, the procession pauses for a solemn ceremony to honour Norfolk Islanders who served and died in wars.

The procession then continues to the cemetery, where families place wreaths and flowers on the graves of deceased loved ones. This poignant tradition connects current generations with their ancestors while local hymns fill the air.

Then, a little while later when everyone gathers for the Bounty lunch, our Norfolk Grace is sung:

AUDIO> Bubby Evans singing our Norfolk Grace

The communal feast which follows brings together traditional island cuisine that blends Polynesian influences and cooking techniques. Trestle tables groan under the weight of dishes prepared from family recipes passed down through generations, creating a culinary heritage as important as the historical commemoration itself.

Those of us who live in different places all around the world, Bounty Day is always recognised wherever you are - often with traditional meals cooked, guests and friends invited to join in to celebrate together.

AUDIO>> George 'Toofie' Christian composed a song: Homesick for NI

Thanks so much for joining me this week!

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 This podcast episode introduces you to another one of the most charming and unexpected aspects of life on our unique South Pacific island. Welcome to Norfolk Island, where cows have the right of way!

One of the biggest surprises for visitors arriving in Norfolk Island is encountering a herd of cattle wandering the roads with no farmer in sight. 

While cattle have freedom to roam, strategically placed cattle stops around the main areas of town prevent them from strolling down the main street or through the local shopping centre!

It has been a traditional right, on Norfolk, for cattle to graze freely anywhere that a pasture has not been fenced off by a property owner. 

So do take care when driving on our roads, as the cows have right of way!

AUDIO>>>Have a listen now to the late Leo Nola  in an interview with the late John Anderson in 2016 as he speaks about his life on Norfolk Island as a taxi driver. 

Norfolk Island's cattle management traditionally followed a distinctive system. Locals could register up to 10 cows under their name for a small fee. Each cow received a coloured registration tag attached to its ear before being set free to roam the island. Of course, owners can also choose to keep their cattle confined to private property if they prefer.

AUDIO>>> Have a listen now to Norfolk Islander, Ruth McCoy as she shares her childhood experience with milking cows.

When you are visiting Norfolk Island, embrace the unique coexistence with free-roaming cattle as being essential to fully enjoying your experience. 

Some Essential Driving Tips for Visitors
> Always stay alert for cows that may suddenly appear on the road as you come around the bend.
> Adhere to the speed limits, designed specifically with wandering cattle in mind.
> When encountering cattle, slow down or stop completely until they move on their way.
> Use High Beams at Night - Essential for spotting dark-coloured cattle on poorly lit rural roads after sunset.

Rather than seeing the cattle as an inconvenience or oddity, consider them another part of what makes this island genuinely special and distinctive.

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The factual foundation beneath the Hollywood glamour begins in 1787, when Britain's Royal Society dispatched Lieutenant William Bligh to Tahiti on what seemed a straightforward botanical mission. His orders were to collect breadfruit plants and transport them to the Caribbean, where they would provide an inexpensive food source for enslaved people on British plantations. The HMAV Bounty, a relatively small vessel at 90 feet in length, was refitted specifically for this purpose with a special deck to house the plants.

The voyage to Tahiti was arduous, taking ten months and requiring a failed attempt to round Cape Horn before taking the longer route around Africa and across the Indian Ocean. After arriving in Tahiti in October 1788, the crew spent five months collecting and potting over 1,000 breadfruit plants. 

What contributed to the building resentment that would ultimately erupt into mutiny 23 days after leaving Tahiti?

The events of April 28, 1789, have been dramatized in countless retellings, but the historical facts reveal a more nuanced situation than the clear-cut hero-villain narrative popular in Hollywood.

The Bounty story made its silver screen debut in 1916 with the Australian silent film "The Mutiny of the Bounty," but it was MGM's 1935 production that first captured the epic scale of the tale.

The 1935 film, directed by Frank Lloyd, won the Academy Award for Best Picture and cemented the story in American popular culture. 

The 1962 remake starring Marlon Brando reimagined Christian as an aristocratic, introverted intellectual at odds with Bligh's middle-class ambition. 

The 1984 adaptation starring Mel Gibson as Fletcher Christian and Anthony Hopkins as Captain Bligh, represented a significant departure from earlier portrayals.

The Tahitian women left no written accounts, and yet they sustained the community and raised children in a way of life became integral on Pitcairn. I’ve increasingly wished: 'If only Mauatua had kept a journal.' How different would our understanding of this history be if we had access to the mothers’ perspectives?  The absence of their voices represents not just a gap in the historical record but an inability for us to truly understand how their life was experienced. 

While Hollywood narratives typically conclude with Christian and the mutineers settling on Pitcairn Island, the story of their descendants—my family story—continued. By the mid-19th century, the Pitcairn community had outgrown their tiny island home. In 1856, the entire population of 194 people relocated to Norfolk Island.

The Bounty legacy is visible throughout the island, from the cemetery where generations of our descendants are buried to informative tours, museum exhibitions and our annual Anniversary / Bounty Day celebrations on June 8, commemorating the arrival from Pitcairn. 

While films focus on the conflict and romance, they miss the most remarkable legacy of the mutiny: the Pitcairn and Norfolk communities that have survived for over two centuries. 

Hollywood's treatments—from Clark Gable to Marlon Brando to Mel Gibson—each reflected their eras' preoccupations: Depression-era concerns with tyranny, Cold War tensions between freedom and authority, and the 1980s' more psychologically complex understanding of leadership and cultural encounter. Each version contained elements of truth while inevitably simplifying and dramatising for entertainment value.

Ft. Mutiny Band at the Hotel Norfolk in the 1980s.

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 Let’s explore the rich tradition of polyphonic singing in Polynesia, particularly focusing on the historical encounter between Hugh Carleton and the Pitcairn Islanders in 1850. 

Hugh Carleton, a trader, newspaper editor, politician, and writer with no formal musical qualifications beyond his self-proclaimed talent, found himself accidentally marooned on Pitcairn Island. Upon hearing the local singing, he immediately deemed them "discordant and jarring" to his Western-trained ears.

Perhaps the most revealing aspect of this historical encounter is how quickly the Pitcairn Islanders reportedly mastered Western singing techniques. Within just one week, they "accomplished a result beyond their teacher’s highest hopes". By the second week, Carleton departed with "full confidence" that his musical instruction would continue to flourish.

This extraordinary rate of progress raises an important question: Were the Pitcairn Islanders truly musically "deficient" as Carleton initially assumed? More likely, they already possessed sophisticated musical abilities derived from their Polynesian heritage.

Polyphonic singing—where multiple vocal parts are sung simultaneously—was widespread throughout Polynesia long before Western contact.

European explorers from the 1700s onward documented numerous examples of polyphonic singing across the Pacific. During Captain Cook's 1772-1775 voyage, observers noted that Polynesians "sing in parts, keeping the same time and varying the four notes without ever going beyond them." Another historical account  in 1802 mentioned "discordant notes, with which, however, the ear of these people seemed very much gratified," indicating that what sounded unusual to Western ears was intentionally cultivated and appreciated within Polynesia.

When Carleton dismissed the Pitcairn Islanders' singing as "discordant," he was failing to recognize a sophisticated musical system with deep cultural roots and social significance—one that deserved appreciation rather than correction.

In small, isolated communities throughout Polynesia, singing together has historically served as a cherished pastime that strengthens social bonds. The joy of harmonizing "by ear" with others—young and old, male and female—created a powerful sense of belonging and shared identity. This communal singing tradition existed for its own sake, without need for audience, stage, or recognition.

A critical question emerges when examining the our musical traditions: Would the Tahitian mothers on Pitcairn Island have lived their lives in silence? It's virtually inconceivable that these women would not have brought their rich Polynesian musical traditions with them and passed them on to their children.

The musical heritage of the Pitcairn Islanders would naturally have included elements from both their British fathers and Tahitian mothers. While Western accounts often focus on the European influences, the Polynesian contributions were likely equally if not more significant, especially in communal activities like singing that are central to Polynesian cultural expression and intergenerational knowledge transfer.

The historical encounter between Hugh Carleton and the Pitcairn Islanders offers a powerful lesson about cultural humility and the value of musical diversity. What one culture might hear as "discordant," another recognizes as beautifully harmonious within its own aesthetic framework.

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 Let’s explore how Norfolk Island’s unique musical heritage has evolved showcasing various genres and the integral role music plays in our community gatherings, fundraisers, and celebrations.

As global communication improved in the mid-20th century, Norfolk Islanders gained increasing access to musical influences from all around the world. Radio broadcasts beginning in the 1940s introduced new sounds to the island, while returning residents who had spent time overseas brought back records, instruments, and fresh musical ideas that would transform the island's soundscape.

 As rock and roll, folk, and country music gained worldwide popularity, these sounds made their way to Norfolk's shores through visitors, imported records, and radio broadcasts. 

Local venues like the Kingfisher or Paradise became important gathering spots where musicians could perform for both locals and the growing number of tourists. These informal jam sessions and contemporary influences created a distinctive island sound that resonated with performers and audiences alike.

One of the most distinctive aspects of Norfolk Island's musical culture is how deeply it's intertwined with community support and mutual aid. Musical performances have frequently been organized as fundraisers for families facing medical emergencies, or other hardships. 

These fundraisers typically follow a well-established format that has evolved over decades. They are usually organized at short notice when a need arises within the community. Word spreads quickly across the island's population, with announcements made through local radio. What makes these events special is the entirely voluntary nature of participation—musicians donate their time and talent, venues offer their spaces free of charge, and community members contribute food, drinks, and raffle prizes.

What makes Norfolk Island's music scene particularly fascinating is its remarkable ability to blend diverse musical genres into a cohesive and distinctive sound. 

As global music continued to diversify, Norfolk musicians eagerly experimented with reggae, pop, folk revival, and even elements of electronic music. What remained consistent was the island approach to adaptation—taking external influences and filtering them through the lens of the Norfolk cultural experience, creating something simultaneously familiar and unique.

The evolution of Norfolk Island's music scene has been shaped by several influential local musicians whose contributions have left an indelible mark on the island's cultural landscape. These individuals have not only entertained generations but have also served as cultural ambassadors, preserving traditional sounds while pioneering new musical directions.

It is with much appreciation to George Smith as being one of our music ambassadors as well as being a brilliant musician and for many of these audio recordings I’m sharing with you now.

These key figures in our community share a common thread despite their different musical approaches—a deep commitment to community participation and inclusivity. Rather than building careers focused on commercial success, they've prioritized mentorship, regularly performing alongside both seasoned musicians and newcomers at community events. This collaborative ethos has ensured that musical knowledge continues to be passed down through generations while remaining open to fresh influences.

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 In this episode, let’s explore a little more of our rich linguistic heritage in Norfolk Island, focusing on proverbs, idioms, and metaphors in the Norf'k language.

When travelling to and visiting a new place, a new community, you may find an unfamiliar language is spoken there. Perhaps there’s a sense that something meaningful remains just beyond your grasp. A string of words, can be delivered with a subtle smile, and carries layers of cultural significance invisible to visitors. This sensation of missing an undercurrent in conversation is a universal human experience—we intuitively recognize when language transcends its literal meaning.

For visitors to Norfolk Island, this experience is particularly pronounced when encountering the Norf'k language. Conversations among locals might include expressions, sayings, and metaphors that have developed over generations, creating a rich tapestry of meaning that connects community members through shared understanding.

How does one access the hidden meanings embedded in another language? The answer lies not just in vocabulary acquisition or grammatical understanding, but in developing cultural sensitivity and awareness of how language functions within its community of speakers. 

Kindergarten school teacher, the late Miss Bataille pioneered formal instruction in the Norf'k language, employing straightforward yet effective methods that emphasised oral practice and community involvement. Her technique centred on writing Norf'k words and sentences on blackboards or butcher's paper, encouraging students to read aloud and repeat the phrases to develop familiarity and fluency. 

By the time of her retirement in 1986, she had taught an estimated 1,400 students spanning three generations of Islanders.

The late Mr Ian McCowan, former Headmaster of the Norfolk Island Central School shares this in a recorded interview captured in 2007:
"When I became the principal in 1972, I introduced language into the school. We had a teacher here who was a Norfolk Islander teacher called Fay Bataille and she took classes. Two lessons per week each class, to preserve the Norf'k language."

AUDIO: Norfolk Islander Dianne Richards as she reads a page from Miss Bataille’s lesson plans.

Recorded in ‘Ucklun’s Norf’k’ book publication is “myse fish’’. It says: “While there are written records for ‘toela’ and ‘tintoela’ as meaning ‘sweetheart’ from the 1960s, and records of the word as meaning ‘girlfriend’ in the 1970s from Shirley Harrison’s informants who were born around 1900-1910, the related expression ‘myse fish’ also meaning ‘sweetheart’ was recorded as early as 1938. ‘Myse fish’ means ‘the best catch’ (not literally) or to be ‘caught: hook, line and sinker’. 

AUDIO: performance by the Nightriders at the Norfolk Island Leagues Club in 2017

Fluency in Norf'k—particularly the ability to understand and use its proverbs, idioms, and cultural expressions—signifies belonging in the community.

 The hidden meanings become more visible when there is a respectful sensitivity towards the documentation, protection and preservation of any endangered native language. Through careful study and cultural context, what initially appears as simple phrases or quaint sayings emerges as a sophisticated system for communicating values, history, and collective wisdom.

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 There is something profoundly moving about sitting with an elder family member as they share stories from their past. When a grandparent, parent, aunt, or uncle opens up about their childhood experiences, historical events they witnessed, or family traditions they remember, they're offering you more than just information—they're entrusting you with their legacy. This transmission of knowledge represents one of humanity's oldest and most meaningful traditions.

Family stories provide us with context for our own lives and help us understand where we come from. They connect us to our ancestors and cultural heritage in ways that written records alone cannot. When an elder chooses to share their stories with you, they're inviting you into a sacred space of trust and continuity.

For many families, oral histories preserve cultural traditions, languages, recipes, and customs that might otherwise fade away. They document journeys, adaptation to new circumstances, and the resilience that carried your immediate & extended family through difficult times.

>> I’d like to share with you a recording of John Adams prayer as recited by my grandfather, the late Richard Bataille. This is the only recording I have of his voice and it set me upon this path of capturing and honouring oral history audios to build a Norfolk Island Sound Heritage collection to share with you all.

One of the most poignant aspects of family oral history is the profound regret many people experience when they realise they've lost the chance to record a loved one's stories. This particular sadness has a unique quality—it's not just about missing the person, but about the permanent loss of their memories, perspectives, and wisdom that can never be recovered. So many of us have found ourselves wishing we had asked more questions, listened more carefully, or simply pressed "record" while we still had the chance.

>>AUDIO - Listen to the late Puss Anderson & Ruth McCoy captured as they sat on the verandah enjoying a cup of tea and reflecting upon their childhoods. 

When family members entrust you with their stories, they're performing an act of generosity that deserves profound respect and appreciation. Those who agree to be recorded are not only sharing their personal experiences but are also making themselves vulnerable—opening up about both joyful and difficult memories, reflecting on their choices, and revealing aspects of themselves that might otherwise remain private. This willingness to be remembered authentically is a gift that merits deep gratitude.

There is something uniquely powerful about the human voice that transcends other forms of memory preservation. While photographs capture appearances and written memories preserve thoughts, voice recordings maintain the intimate emotional qualities that make each person distinct and beloved. 

The stories you choose to record, the questions you ask, and the way you present these narratives will influence your family's understanding of itself for generations to come. This is a profound responsibility and an extraordinary opportunity.

The voices of our loved ones carry something irreplaceable—something that transcends facts, dates, and even the stories themselves. 

For me, with this Untold Norfolk Island podcast series, it is by preserving the voices of our people, that we're capturing and sharing the essence of our families and Norfolk Island community’s character, wisdom, legacy and love. 

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AUDIO>> You have just heard the late Archie Bigg reciting his poem about the Year 9 Norfolk Language camp

 In this episode, let’s explore the foundation of our Norfolk Island education from our Pitcairn origins.

The educational tradition on Norfolk Island extends back to the Pitcairn Islanders. In 1835, the community on Pitcairn instituted compulsory education for children aged six years and over. This early dedication to education stemmed from John Adams, one of the original Bounty mutineers, who taught the first generation of Pitcairn children to read in the early nineteenth century using only the Bounty Bible and a prayer book.

This educational foundation proved influential when just one month after the Pitcairners’ arrival in Norfolk Island in 1856, the Reverend George Hunn Nobbs, who had been educated in England and served as the community's teacher, pastor, and doctor on Pitcairn, established schooling in the Old Military Barracks at Kingston. 

The Pitcairn educational tradition was reinforced the following year when Governor Denison published laws for compulsory school attendance on Norfolk Island—recognised as the earliest legislation of its kind in the British Empire. 

While formal education was highly valued on Norfolk Island, the practical realities of island life required a sensible approach to schooling. 

The lemon and passionfruit industries represented crucial export markets for Norfolk Island during certain periods, providing essential income for families and the broader community. When harvests peaked, all available hands—including school children—might be called upon to ensure the crop was gathered efficiently before spoilage. Children on the island learnt practical skills that complemented their formal education—understanding agriculture, commerce, logistics, and the seasonal rhythms that governed island life.

This balance between formal classroom education and practical life skills created a holistic educational experience that prepared children not just for academic achievement but for the realities of life on a remote island. 

One of the most significant educational initiatives has been the deliberate effort to preserve and promote our unique Norf'k language, with one of the most notable of these initiatives being the annual Language Camp for Year 9 students. 

The camp took students out of the standard classroom environment and placed them in settings where they actively used and learnt the Norf'k language while simultaneously engaging with traditional cultural practices.

>> AUDIO Have a listen now to Gaye Evans, Judith Davidson & Colleen Crane as they share with us how the Norfolk Language Camp came about and what it involved.

>> AUDIO:  the next collection of audio compilations includes the Year 9 students in 2013 speaking about their fishing experiences, favourite foods and activities, along with the late Archie Bigg, Colleen Crane, Maev Hitch, Greg Magri and Arthur Evans.

The ripple effects of the Language Camp extended throughout the community. Participating students often returned home with renewed enthusiasm for Norf'k, bringing phrases and cultural practices into family settings and encouraging intergenerational language use. The camp also paid tribute and acknowledged appreciation of our community elders, whose knowledge of language and tradition is showcased as valuable expertise rather than relics of the past. 

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 In this episode, let’s explore our iconic Norfolk Island Pine, its ecological and historical significance, and the traditional craft of making roof shingles as a part of our island's cultural heritage. 

I would like to share this overview from a chapter entitled; ‘Norfolk Island’s trees’ by Kevin Mills. Kevin is a botanist and ecologist.

The local native trees number only 32 species, while several hundred different tree species have been brought from elsewhere since Europeans arrived in 1788.

One tree that cannot go unnoticed is the ubiquitous Norfolk Island Pine Araucaria heterophylla. The Norfolk Pine impressed Captain James Cook, the European discoverer of Norfolk Island, who wrote in October 1774 “…the chief produce of the isle is Spruce Pines which grow here in vast abundance and to a vast size, from two to three feet diameter and upwards…”. Cook’s suggestion that “here then is a nother Isle where masts for the tallest Ships may be had” was never realised due to the way in which the branches weaken the trunk by their growth habit.

Philip Gidley King, sent from Sydney to occupy Norfolk Island soon after Port Jackson was established in 1788 by the British, was also impressed by the size of the pines, writing “the pines which are very numerous are of an incredible size, one of them which had been blown down or fell by age, measured 140 feet [c.43 metres] & several others which we measured were 27 feet [c.8 metres] in circumference…”.

 > Have a listen now to a snippet from the 2003 program ‘Radio Shorts’ as hosted by George Smith & Gillian Connolly with this interview with Jackie Ralph Quintal.

One of Norfolk Island's most distinctive cultural practices is the traditional craft of making wooden roof shingles from Norfolk Island Pine. This specialised form of woodworking represents a direct continuation of techniques that have been passed down through generations of island families. The resulting shingle roofs create the characteristic appearance of the historic buildings in KAVHA as produced for restoration projects.

> Have a listen now to Norfolk Islander, Kane Anderson, as he shares his working experience with shingle-making as part of the KAVHA restoration team.

It was in 2009, when Brand Architect Mahesh Enjeti was engaged by Norfolk Tourism for a rebranding and positioning project, that he shared upon his arrival, that during his plane trip here, he was musing upon the numbers 3, 5, 8 which had tweaked his curiosity. That is, the size of the island is 3 x 5 miles or 5 x 8 kilometres. He recognised he said, those numbers are of the fibonacci sequence, and therefore this island must really be somewhere special as it’s already naturally designed in perfect balance!

>AUDIO>>  ‘My Beautiful Island Home’ by Norfolk Islander and singer/ songwriter, Eileen Snell.

For visitors to Norfolk Island, experiencing the majesty of our Norfolk Island pine trees offers a connection to both natural and cultural history. 

The Fibonacci sequence—a simple mathematical pattern with profound implications—reminds us that often the most beautiful aspects of nature are also the most functional, reflecting millions of years of evolutionary refinement toward optimal design.

We look forward to welcoming you here!

Thanks so much for joining me this week!

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email: res@baunti.nlk.nf

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 In this episode, let’s explore the athletic excellence in our Norfolk Island community as we delve into our participation in the South Pacific Games and Commonwealth Games and exceptional achievements despite our small size and isolation. 

Norfolk Island has cultivated a remarkably strong sporting tradition that forms another pillar of our community identity, connecting us to the broader Pacific and global community through athletic competition.

Sports on Norfolk Island transcends mere recreational activity—it represents community pride recognising natural athletic abilities, combined with determination, commitment and strong community support, has enabled many of our sporting athletes to compete successfully on international stages that would typically be beyond the reach of such a small island.

For visitors to Norfolk Island, understanding our sporting heritage offers a deeper insight into the island's character and values. Whether you're travelling to the island to participate in one of the many tournaments hosted on the island or simply to explore this unique destination, by appreciating the role that sports play in daily life will enrich your experience and connection with the local community.

The year 1979 marked a watershed moment in Norfolk Island's sporting history when it was officially accepted as a participant in the South Pacific Games. This achievement represented far more than simply gaining entry to a regional sporting competition—it was the first time that Norfolk Islanders could compete under their own flag and identity in an international multi-sport event, standing alongside their Pacific neighbours as equals.

The first Norfolk Island team to compete at the South Pacific Games carried with them not just their athletic aspirations but the pride of an entire community finally able to showcase their sporting talents under their own banner.

Building on our  success in the Pacific Games, Norfolk Island achieved another significant breakthrough in 1986 when they were accepted into the Commonwealth Games Federation. This accomplishment further elevated Norfolk Island's international sporting profile, placing this tiny island community on the same stage as major nations like Australia, Canada, and the United Kingdom.

Since their first Commonwealth Games appearance, Norfolk Island has faithfully participated in every edition, sending dedicated athletes across multiple sports. While the medal tally may not match larger nations, the achievement of fielding competitive teams from a population at the time, of less than 2,000 people is extraordinary by any standard. Norfolk Island's consistent participation demonstrates their unwavering commitment to international sportsmanship and our determination to be recognised as a distinct sporting entity.

>> Listen to an interview by George Smith with the late Ernie Christian Snr, as he shares with us in 1980 the establishment of the Norfolk Island Athletics Club.

For both residents and visitors alike, the sporting life of Norfolk Island offers powerful testimony to what can be achieved when a small community unites behind shared aspirations and celebrates collective achievement. 

Event organizers typically provide comprehensive information packages for visiting competitors, covering everything from competition rules to social events and sightseeing opportunities.

Thanks so much for joining me this week!

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 In 1902, Norfolk Island took a monumental step into the modern age with the establishment of the Pacific Cable Station at Anson Bay. This facility marked the island's first telegraphic contact with the outside world, ending centuries of relative isolation. Prior to this development, communication with the mainland required physical transportation of messages by ship, a process that could take weeks or even months depending on shipping schedules and weather conditions.

The station was not merely a local improvement but a significant component in a grand imperial communication strategy. The British Empire, recognizing the strategic importance of rapid communication across its vast territories, had embarked on the ambitious project of creating what became known as the "All Red Line" – a global submarine telegraph network that connected British territories while touching only on British soil.

___________

The story of Norfolk Island's cable station intersects with the island's local history through the Bailey family, creating a fascinating narrative of how global telecommunications infrastructure became woven into the fabric of island life. 

George Bailey arrived on Norfolk Island in 1875, well before the cable station was established, coming to work as a blacksmith for the Melanesian Mission. 

After settling on the island, George Bailey fell in love with Emily Christian. Emily had arrived from Pitcairn Island in 1856 when she was just four years old, with the resettlement of the Pitcairn community to Norfolk Island. A 13 acre block of land was given to Emily Christian, as part of the 50 acre blocks of land originally granted to Pitcairn families. Once a daughter married she was given 12.5 acres and sons were given 50 acres.  Emily was one of the first Pitcairn women to marry an outsider and the land was listed under her husband’s name, George Bailey.  The lease was granted in 1877. George and Emily established their family home, named 'Greenacre,' where they raised six children, the youngest of whom was Tom Bailey.

Tom Bailey and his wife Edna Roberts were stationed in Fiji as part of the cable operations there. It was during this posting in Fiji that their daughter Marie was born in 1926, adding another branch to the family tree with direct connections to the cable operations.

Three years after Marie's birth, the family returned to Norfolk Island and took up residence in one of the Cable Board Houses at Anson Bay. Tom Bailey thus became part of the cable station community, contributing his skills to the operation of this vital communications link while raising his family on the island. Tom was described as a devoted father who shared his love of fishing and gardening with his daughter Marie, passing down practical skills and a deep connection to the island's natural environment.

Marie Bailey's story illustrates growing up in the technologically advanced environment of the cable station, Marie went on to pioneer horticultural beginnings, agricultural exports, her role as bean seed inspector, a member of the National Parks Committee, a forerunner in tourism, attaining sporting excellence and recognition, participation in the South Pacific Games, establishing the Pitcairn Settler’s Village, Cyclorama and Queen Victoria’s garden.

In next week’s episode we’ll explore more of the late Marie Bailey’s legacy. Marie adored her island home, and everything she did throughout her life, was to honour it and promote it. 

She would welcome visitors to the island

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While Norfolk Island's feral chickens may hold potentially historical significance, their presence is not without controversy from an environmental perspective. As an introduced species on an island with unique and vulnerable native flora and fauna, these birds occupy a complicated ecological position that requires thoughtful management approaches.

>>>>Have a listen to an interview by the late Toon Buffett in 1983 with Neil Hermes from Parks

Chickens are called ‘fowl’ on Norfolk, as well as chooks. An old Island expression translated by Beryl Nobbs Palmer describes the actions of a fowl when drinking. It takes the water into its beak and in the same motion, throws its head backwards, the old Norf’k saying is: ‘I moosa fowl!’ which means ‘If I don’t get something to drink, I’ll be swallowing like a fowl!’.

>>> Have a listen to the late Archie Bigg, as shares his poem: Cockadoodlebloomendo in 2018

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In this week’s episode I would like to pay tribute to the women and men who chose Norfolk Island as their home. They often married islanders of Pitcairn descent, had families and it is through their dedication, love, and countless contributions, that these women and men have helped shape the Norfolk Island we cherish today.

For those who made the decision to move to Norfolk Island, this meant saying goodbye to their families, friends, and everything familiar to uncertainty about what awaited them.

The island's isolation, rugged beauty, and unique way of life of the community required significant adjustment.

Starting life here, meant quickly learning island ways, adapting to local traditions, cuisine, and the distinctive Norf’k language, whilst also blending their own customs into island life. 

These women and men who embraced and protected our heritage, became essential guardians of island traditions, as they brought up their families and contributed to enriching over the years our community's cultural tapestry.

An article entitled ‘The Practical Pioneers - women who’ve made Norfolk Island their life and livelihood’ was published in the Woman’s Day Magazine in October 1978.

A quote:

Norfolk Island women live their lives as fully as their counterparts in major world cities.
‘Every day is different’ says Jean Mitchell. “In many ways it is a richer life because one is constantly in touch with nature’.

>>>> Have a listen now to an interview with Kathy LeCren as hosted by Bazza in New Zealand.

>>>>Within her broadcasting role, Kathy also hosted a weekly program entitled Norfolk Notes. This is a snippet of one epsiode ~

_____________

As we honour the women and men who chose Norfolk Island as their home, we recognize that our community today stands as their greatest legacy. Their courage, adaptability, and love have shaped not just their own families but contributed to the character of our entire island.

>>>>Have a listen now to the song entitled ‘Maimitti’ as composed and sung by islander and singer songwriter, Eileen Snell.

Thanks so much for joining me this week, as we share Norfolk Island’s history, heritage, customs, personal narratives and tributes to many of the people, past and present who have contributed and are contributing to our vibrant community.

We look forward to welcoming you here soon!

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phone: (International +6723) 23693
To call from Australia: (02) 91368062

 The remoteness of Norfolk Island has fostered a spirit of resourcefulness and innovation in its culinary practices. We adapt to the seasonal availability of local produce, creatively using unripe fruits and planning ahead to ensure a steady supply of food throughout the year. This adaptability is a hallmark of our Norfolk Island culinary heritage, reflecting our deep connection to our environment and our way of life.

This innovative approach to cooking extends beyond simply using what's available, many of us have our own family techniques for preserving and enhancing the flavours of our local ingredients, ensuring that nothing goes to waste. 

Our culinary landscape is deeply intertwined with our Polynesian heritage. Traditional dishes, prepared with love in island homes, reflect the essence of Polynesian cooking & recipes, as handed down through generations.  Many words in our Norf’k language have a Tahitian origin, such as those words we use to describe the preparation of food: For example:
•Papahia (to pound or crush / to break into small pieces)
•Wihi (to wrap - the act of wrapping pilhi in banana leaves)

Most of us now cook in modern kitchens, but the legacy of traditional cooking methods remains with us. The early Norfolk Islanders relied on stone ovens, known as "hoem ovens," which were often located separately from the main home building. These ovens served as the heart of family life, where baked bread, roasted meats, and other essential dishes were prepared. 

Today, the "hoem oven" is less common, but its memory lives on in the stories and traditions passed down through generations. We continue to cherish the flavours and techniques as passed down through our families, adapting them to modern cooking appliances whilst preserving the essence of our culinary heritage.

Some of our local produce, such as different varieties of sweet potatoes, bananas, red and yellow guavas, china pears, avocados… are discussed in this 1957 recording in the Norf'k language as captured by linguist, Elwyn Flint. 

>>> Listen to the islanders describing some of the flavours, textures, preparation and recipes of our most favourite food on the island as a testament to the natural beauty of the island and the resourcefulness of its people.

Norfolk Island's culinary heritage is a treasure trove of flavours, techniques, and stories waiting to be discovered. As a visitor, you will have the opportunity to learn about many of the island's unique ingredients, traditional cooking methods, and the people who keep these traditions alive. 

We look forward to sharing with you a culinary adventure on your holiday to the island. Seek out local restaurants and cafes that serve some of our local dishes made in the traditional way. Talk to us about their favourite dishes and cooking techniques. Visit local markets and roadside stalls to sample the island's fresh produce.

Thanks so much for joining me this week!

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email: res@baunti.nlk.nf

phone: (International +6723) 23693
To call from Australia: (02) 91368062

 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

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 On June 8, 1856, one hundred and ninety-four souls arrived on Norfolk Island, marking this current significant chapter in Norfolk Island’s history. These individuals, descendants of Tahitian foremothers and the HMAV Bounty mutineers, embarked on a gruelling 33-day sea journey aboard the naval vessel, Morayshire, from Pitcairn Island. The surnames of Christian, Young, Adams, Quintal, McCoy, Nobbs, Evans, and Buffett, were all on board. During the voyage, one child was born and named Reuben Denison Christian. This arrival was a profound transition for a community stepping into a new homeland settlement.

Of the 194 persons who arrived on Norfolk Island that day, the demographic breakdown included 40 men, 47 women, 54 boys, and 53 girls, all under the age of 16. This meant that 107 children arrived on the island, effectively transforming it into a "new playground" for them.

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It is wonderful to awaken on the morning of 8 June each year to sunshine - to lay out our ‘Bounty’ clothes, nicely pressed and when worn, adorned with shells and traditionally plaited island hats. 

If, by chance, it is overcast or it looks like rain, we sigh, we pack an umbrella, we weigh up whether will we walk the distance from the pier to the cemetery and then consider where will we set up our picnic lunch? 

This is how I celebrate Anniversary Day. 

But this idealised version of enjoying a lovely sunny day to commemorate our Anniversary Day each year, quickly fades amidst historical journal entries, revealing a different reality. The historical accounts reveal that the day of arrival in 1856 was marked by squalls, gales, strong tides, and bad weather. This stark contrast between the modern celebration and the actual conditions of the arrival highlights the importance of acknowledging these original hardships as faced by our descendants.

In George Hunn Nobbs Journal of 8 June 1856, he describes:

“Cloudy weather. Close in with Norfolk Island, very much disappointed in its appearance from the present point of view, which is directly off the settlement, presents a succession of hillocks and shallow ravines covered with short brown grass, and scarcely a tree to be seen. Everyone much disappointed having been accustomed to hear the place much extolled. No doubt other parts of the Island have a better appearance but this side certainly loses in the comparison with our “Rock of the West”.

Classes began in the New Military Barracks at Kingston on 14 July 1856. 

The attendance of all children was compulsory. The next year, Governor Denison published laws and regulations for the island which included school attendance ~ the earliest legislation of its kind in the British empire.

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In 1999, the Norfolk Island Youth Assembly was created with the help of the Chief Minister at the time, George Smith, the Science teacher Peter Langley and the school librarian, Trish Magri. Students chair the meetings according to parliamentary-style rules, discussing and making decisions on environmental issues and other problems that concern young people.

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Island destinations offer a rich tapestry of cultural experiences that families can enjoy together. Visit museums, art galleries, or historical sites to gain insights into the island's history and heritage. Engage in hands-on activities that allow children to learn about the local culture.

If you wish to join us for our Anniversary celebration

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 Our Norfolk Island’s rich volcanic soil, abundant sunshine, and surrounding sea is a wonderful environment for cultivating distinctive produce. Let’s explore our agricultural landscape, the history and cultivation of local crops like rockmelons and taro/tarla, and one of our all time favourite traditions that is deeply intertwined with our island food, the cherished activity of ‘gwen rumma' and the gathering of 'hihi'.

 Professor Peter Mühlhäusler shares a work in progress entitled ‘Plant Names in Norf’k’ as gathered from input by Norfolk Island community and botanists.

Quote:
...Norfolk Island has about 175 native plant species, fifty of which are endemic. 

...The Pitcairners, when they arrived in 1856, brought with them a number of plants from Pitcairn including new varieties of bananas, sweet potatoes and other food plants.

From our rich soil to our life-giving sea surrounds, we have a fascinating ecological tapestry on the island.

Rockmelons thrive in the island's subtropical climate. An excerpt from Merv’s Homegrown Book shares;

Rockmelons come in a vast variety of shapes, texture, colours and size. Hybrid ones need new seeds each year but with non-hybrids their seeds can be harvested and planted year after year. I grow two types that I have kept going and producing and harvesting for more than 30 years. Both varieties are wilt resistant so this is great!

Rockmelons will set some fruit just after flowering starts and will keep flowering until the plant dies but it only sets fruit the once. Fruit usually ripen after 10-12 weeks. 

>> LISTEN TO NORFOLK ISLANDER, MERV BUFFETT

Taro has been cultivated on islands in the Pacific for centuries, playing a significant role in the local culture.

Norfolk Island is home to a fascinating array of taro/tarla varieties, each with its own unique characteristics and culinary uses. 

>> LISTEN TO NORFOLK ISLANDER, RUTH McCOY

Rumma: A Traditional Island Activity

A favourite traditional island activity is: rumma. This means ‘to gather shellfish by torchlight at night’. Gathering shellfish by torchlight connects islanders to their marine environment in a sustainable way. Rumma is a popular island activity in which families spend time together, create lasting memories, and enjoy the island's natural resources. It provides not only food, but also contributes to the social fabric of the island, where traditions are cherished and passed down through generations.

>> LISTEN TO MERV BUFFETT’S POEM

A bit more of a description about our hihi is shared in this excerpt from Rachel Nebauer’s article: Ode to Hihi

Hihi are medium-sized globe-shaped marine snails found in abundance on Norfolk Island's rocky foreshores. The shell is generally dark black and smooth when small, larger ones have more distinct whirling grooves on the shell surface and tend to be dark grey; with many variations of white, black and grey in between. These hard, thick shelled sea snails or shellfish are what many call 'periwinkles'.

From the fertile volcanic soil to the surrounding sea, Norfolk Island offers a unique blend of flavors and traditions that are waiting to be explored by visitors to the island. You can savour the sweetness of a freshly harvested rockmelon, learn about the versatility of tarla in our garden tours, or listen to a local explaining about their nighttime "rumma" adventures.

We look forward to welcoming

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 How can we put ourselves into the shoes of 104 children under the age of 16, seeing, for the very first time, four-legged creatures on rugged hillsides? 

They had never seen a horse before, let alone ridden one. 

It was in 1856 that our community of 194 people arrived here in Norfolk Island, a tiny isolated isle, after a sea passage from Pitcairn Island, westward across the Pacific Ocean. 

Upon landing, they inherited a unique and challenging environment, including a pre-existing structural penal settlement that had recently been vacated. 

This included a population of horses, creatures that were completely unfamiliar to this newly arrived community.

The children, with their unadulterated curiosity, must have been mesmerized by the sight of these unfamiliar creatures. The horses, with their powerful legs, long necks, and flowing manes, would have seemed almost mythical. This was their first encounter with something that transcended their existing knowledge, igniting a spark of wonder and perhaps a touch of fear.

And henceforth, the horses gradually became an integral part of the fabric of Norfolk Island life. They were no longer just foreign creatures; they were a vital resource, companions, a symbol of progress, and a testament to the islanders’ resilience and adaptability to create a new life in this unfamiliar land and rugged terrain. 

In 1902, A.B. ‘Banjo” Paterson visited the island and wrote;
“The Norfolk Island horses... are not like any other kind of horse that the world has ever seen. They began by being draught horses, but a mountaineering existence has altered their shape altogether and has given them many of the characteristics of the chamois. They can feed on the perpendicular faces of the hills without falling into the sea! Their heads are large and hairy with Roman noses and large upper lips – like rudimentary elephant trunks. Perhaps this development arises from having to root among short grasses for a living. They look like spring cart horses but move with activity – and a good deal of action – of a kangaroo. They are hardy useful animals, with plenty of strength. Style they have not, nor beauty, nor pace, but just plain homely worth.”

When you visit the island, you are invited to participate in a game of golf on the golf course which historically served as a race track. 

Today, our Golf Course location is now acknowledged as being part of the historical KAVHA (Kingston and Arthurs Vale Historic Area). It is one of the oldest of eleven penal sites around Australia that have been classed as World Heritage Sites. 

The golfing experience on Norfolk Island is incredibly unique for a bucket list! 

Thanks so much for joining me this week!

Ft. 1957 recording of the Norf'k language, a conversation with the late Puss Anderson and Ruth McCoy, a discussion with the late Ralph Holloway and Ron Nobbs, a music recording with Shane McCoy and the Nightriders and George 'Toofie' Christian's song: 'Bridle Track'.

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