Lower Lights, Whaling & Scrimshaw -
I, like many today, hold a deep reverence for whales. I am captivated by their sounds, their movements, and their majestic presence in the ocean. The idea of harming such creatures is, to me, deeply unsettling. However, as a descendant of Norfolk Islanders, I must also confront the reality of our whaling history, a heritage that includes my own great-grandfather, Louis “Hookie” Bataille, who was a harpoonist in the 1940s.
How can I, in my 21st-century world of convenience and technological advancement, truly understand the motivations and necessities of the whaling industry in Norfolk Island?
To judge the past from the comfort of the present is unrealistic without a deep understanding of the historical context, the economic realities, and the cultural values that shaped a necessity within a way of life. On Norfolk Island in the mid-20th century, resources were limited, opportunities were scarce, and self-sufficiency was paramount. In this context, whaling was not simply a job; it was a vital part of the island's economy and way of life.
Speaking with elders who lived through this period provides invaluable insight into the challenges of island life. It allows us to appreciate the pride and sense of purpose that came from contributing to the community and mastering a specialized skill.
>>>Listen to Norfolk Islander, the late Puss Anderson as he shares his whaling experience.
The wonderful old Whaling Hymn “Let the Lower Lights Be Burning” was always sung. -
>>> Listen to a 1972 recording captured in the Methodist Church.
Scrimshaw, an art form born from the whaling era, involves intricate carvings on whale bones and teeth.
The etymology of "scrimshaw" remains uncertain, with theories ranging from a Dutch nautical term meaning "to waste time" to connections with ancient Inuit art.
The long hours aboard whaling ships, with the hazardous work of whaling limited to daylight, provided ample "free" time for sailors to engage in artistic pursuits. This leisure, combined with readily available materials, fostered the growth of scrimshaw as a unique maritime craft.
During the 19th and 20th centuries, the art of scrimshaw was practiced on Norfolk Island by visiting whalers. These skilled craftsmen etched designs onto whale bones and teeth, rubbing ink into the carvings and then wiping it back to reveal the artwork within the bone.
George Parkin Christian, a great-grandson of Fletcher Christian, was a notable scrimshaw artist. Around 1870, he carved a scrimshaw pendant in the shape of a killer whale and another depicting a whale hunt. Christian's maritime career included twelve voyages on the American whaling barque CHARLES W MORGAN and other US ships between 1876 and 1916.
A scrimshawed whale tooth signed "Christian," along with other whaling artifacts, is on display at the Australian National Maritime Museum in Sydney.
The Norfolk Island Museum collection features a pair of beautifully crafted scrimshaw figures: a male and female dressed elegantly and looking toward each other, with the man holding a scroll.
The history of whaling on Norfolk Island is a complex and multifaceted story. By acknowledging the various perspectives and understanding the historical context, we can gain a more balanced and nuanced view of our heritage.
I am grateful to my ancestors for their vision, commitment, and hard work in building a better world for future generations. They faced challenges that we can scarcely imagine
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