Tasmanian social historian, Peter MacFie, has recently given a paper at an Ethnomusicology Conference at Cambridge University, England.

His paper which studies Port Arthur and its convict musicians and performers, arose from research when historian at Port Arthur Historic Site during the 1980s. In addition, his own interest in music is reflected in occasional performances around Hobart pubs over the last 20 years — more recently in tandem with Tasmanian poet, Louise Oxley.
An interest in the guitar and entertainers has been a life long passion. In his teenage years and as a university student he saw visiting entertainers ranging from Johnny Cash, Jerry Lee Lewis and Gene Vincent, to (classical guitarist) Andre Segovia and the Louie Armstrong All-stars — all seen at the Hobart City Hall. Perhaps the greatest billing was seeing the Beach Boys and Roy Orbison on the same night.
In his Cambridge paper, Peter examines the ambivalent place of convict musicians in Australian culture as exemplified in the lives of 19th century entertainers at the Port Arthur Penal Station in Tasmanian. Such performers were the secret main-stay of prison society, and today they are still invisible.
Archival records illustrate the social mobility of musicians within such institutions, and the privileges their skills gave them. Accomplished musicians brought with them reputations established in the UK or shipboard. A Spanish guitarist arrested in London, transported and after attempted mutiny, interned at Port Arthur, tuned the guitar of Commandant Booth — possibly hearing his bawdy songs.
Insights into the injustices of colonial life for such musicians can be gained from the life of convict fiddler, Neil Gow Foggo, related to the Gow Scottish fiddling dynasty. In 1848 he and juggler Joseph Crapp entertained the children of Commandant Champ at Port Arthur. Foggo later taught the prison’s string quartet led by its officers. Although dying there in 1870, his musicianship was remembered in Hobart after 1900.
Emancipist musicians found social acceptance difficult — unless adopting middle class mores. Two musical relatives of Foggo’s, CS & FA Packer, who also emigrated to Tasmania illustrate this. However, street musicians who clung to traditional instruments, melodies and dress were victimised. By contrast, free emigrant and bagpiper, Hugh Fraser, who eloped to Tasmania from NSW, was forced to accept a position as overseer at Port Arthur but overcame any stigma. His son Simon, born at the penal settlement, was later a founder of Australian Scottish piping traditions in Victoria.
Folk traditions in Tasmania were overlaid with the Convict Stain, leading to their suppression and neglect. By examining 19th century prison culture, the existence and role of entertainers can be resurrected- and later prejudices explained.
A wide range of other papers from international speakers examine various aspects of ethnomusicology world wide. Other papers include an examination of the impact of buskers on Convent Garden, London, and the music of the Shetland Islands. The Conference is co-convened by former Melbourne academic Dr Katherine Brown.

Peter MacFie, Port Arthur and music …

In his Cambridge paper, Peter examines the ambivalent place of convict musicians in Australian culture as exemplified in the lives of 19th century entertainers at the Port Arthur Penal Station in Tasmanian. Such performers were the secret main-stay of prison society, and today they are still invisible.