Today, Sunday 21st February 2021, the Parramatta Female Factory marked two hundred years since the convict prison building, commissioned by Governor Macquarie, took in its first cohort of 109 women and 71 children. It has been many years since the site operated as a gaol, workhouse, marriage bureau, work assignment centre and even an early version of a women’s health service (of sorts), but the Greenaway-designed buildings still stand, as do others added on over the decades.
A group of volunteers called Parramatta Female Factory Friends have been advocating for this site to be given world heritage status and for local, state and federal governments to recognise its importance and do what needs to be done to protect and enhance its future. It was a committee from the Friends who organised and ran today’s event.
It’s estimated that one in seven Australians today can trace their heritage back to a Parramatta Female Factory woman. That includes me: my 4 x great-aunt Mary Greenwood was an inmate here in the 1830’s, almost certainly her mother passed through here briefly before being assigned to work at the (then brand new) King’s Grammar School – as a laundress. Her name was Mary Ann Greenwood and she was my 5 x great-grandmother.
Thomas and Meg Keneally, both patrons of the Friends of Parramatta Female Factory, spoke of the power of the stories it can tell modern Australians about the women who lived and worked there. To survive the whole transportation experience, including incarceration in the various female factories around the country, women needed to be resilient and tough. They were voiceless and powerless then, but as Meg said, she and other descendants of her 3 x great-grandmother can now be her voice.
The day included an opportunity to lay floral tributes along the commemorative wall, which is inscribed with the first names of every woman known to have passed through its forbidding gates. Here I am with my little posy; if you look closely you’ll see my forebears’ names on the wall.
Another special part of the morning was a performance by Cliona Molins and Rosie McDonald, along with Nigel Lever and Ann Palumbo, of four songs specially commissioned by the Female Factory Friends to mark the bicentenary. The song suite is called Mothers of the Nation and includes recognition of the many women who, as the title song’s lyrics tell us, were
Mothers of the Nation, black and white,‘Mothers of the Nation’, by Cliona Molins and Rosie McDonald
Written out of history
Mothers of the nation, hold your heads high
Mothers of the nation, elders yarn,
her story of strength and fight
to carve out a life in this land.
My thanks to the organisers of today’s special occasion.
If you’d like to know more about the stories of the Parramatta Female Factory and the activities of the PFF Friends, you can visit their website.
I’ve heard a lot about the importance of having an occasional – or even regular – ‘creative date’. An immersion into a realm of creativity that you don’t usually encounter in your day-to-day life or even in your own creative pursuits. An experience to get the creative wheels turning, perhaps in new directions or with renewed enthusiasm. After a recent foray into the world of theatre, I am totally convinced by this argument.
I went with six of my female ‘besties’ to Parramatta Riverside Theatre, to see a new Australian play, Forgotten, written by Cate Whittaker and produced by Captivate, the creative and performing arts program for Catholic Schools in the Diocese of Parramatta.
Forgotten is inspired by the stories of convict women who were sent to the Female Factory, from where they could be assigned as convict labourers, or perhaps be married, or – as happened to many – be punished further. The story centres on the 1827 ‘Riot’ when the women went on strike to demand proper rations, because their allotted rations had for some time been siphoned off by the son of the Factory Matron at the time. Half starved, desperate and forgotten by colonial society, they staged a riot, staring down the constables and the militia sent to quell their rebellion, and breaking out of the Factory walls to run through the township of Parramatta in search of food.
While a contemporary press report about the ‘riot’ described the convict women as ‘Amazonian bandetti’, I don’t imagine the women were especially physically strong given their circumstances, however their determination and resilience must have been great to allow them to take this action, which could accurately be described as the first industrial action by women in the country since colonisation.
Mark Hopkins, the Head of Captivate, describes them like this:
…young, predominantly Catholic women who found their voice in collective action in the face of opposition and systemic oppression…Mark Hopkins, in Forgotten program booklet
There were several other ‘riots’ at the Female Factory, usually in response to reduced rations or an increase in punishments such as the hated head shaving. Perhaps later women incarcerated there drew strength from the stories they must have heard about this first action taken by brave and desperate women.
The majority of cast members were students from Catholic high schools in the Parramatta area, with some roles performed by Captivate alumni, with one or two teachers in the mix as well. Their performances were wonderful: portraying the circumstances of young women around the same age as themselves, but in a very different time and place.The production was supported by The Parramatta Female Factory Friends (the playwright is a member of this group as well as a Colonial historian and teacher). The production was simple but evocative of the harsh and uncompromising setting of the Factory.
So, how did this experience work for me as a ‘creative date’? During the play, I laughed a few times, I seethed at the unfair and unjust treatment meted out to these women, and I cried some tears. I was glad to see their stories presented on the stage – and in this way kept alive, not forgotten after all. The story resonated particularly because this era, and the Female Factory itself, feature in my work in progress – historical fiction set in convict-era NSW. Seeing these portrayed through words and action on a stage sparked some new ideas and thoughts about my own work.
And, last but certainly not least, it made me recommit to the promise to my characters to tell their stories – so that they, too, are not forgotten.
If you’d like to know more about the Female Factory and the work of the Friends to preserve this heritage, see their website http://www.parramattafemalefactoryfriends.com.au/