Aerial theatre

Airem Scarem

In an earlier series of posts I discussed Australia's first airship, the White Australia, which flew in 1914. It turns out that there was an earlier Australian airship, of a sort: the Airem Scarem. Indeed, according to a 1907 newspaper advertisement it was the 'First Airship below the line' (equator, presumably). From the above photo, taken in 1908, Airem Scarem was a trim little vessel, though the envelope is a bit on the small side and the propulsion system, which seems to consist of no engine and two tiny propellors fore and aft, hardly seems adequate. Fortunately the Airem Scarem was assisted in its flights by being suspended from a cable -- which has been crudely whited-out from the above photo -- because it wasn't a real airship at all but rather an amusement park ride, at Wonderland City in Tamarama, a beachside suburb of Sydney.
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What could be more American than football, cheerleaders, and country music? According to Hank Williams Jr in 1989 [edit: more like 1996 -- thanks, Robert Farley], only football, cheerleaders, country music, and air strikes on US national monuments (which magically transform them into symbols associated with football):

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Coppin's balloon medal, 1858

In the rather enjoyable Falling Upwards, Richard Holmes spends most of his time discussing the history of ballooning in Britain, France, and the United States. However, he does briefly talk about the first balloon flights in Australia:

In 1858 the British balloon the Australian made some startling flights over Melbourne and Sydney. There was a late-summer ascent in March from Cremorne Gardens, Melbourne, in which a basketful of local dignitaries sailed over the Botanical Gardens in bright moonlight, with a magical sight of the festival fireworks far below. But, attempting to land at Battam's Swamp, they found themselves in a working-class district, and the balloon basket was seized by a violent crowd. Amid vocal democratic objections to such 'superior' transport, the distinguished guests were forced to escape by jettisoning champagne bottles, picnic hampers, several bags of sand ballast, and finally throwing off a few hardy objectors still clinging to the sides of the basket.1

I'd never heard about this 19th century aerial riot, or near-riot, in my home town. However, Holmes doesn't cite any sources; and while something like this did happen, when compared with contemporary press reports his account appears to be deficient in several respects.
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  1. Richard Holmes, Falling Upwards: How We Took to the Air (London: William Collins, 2013), 94-5. 


John T Collins, Aerial Pageant

A drawing by an Australian, John T. Collins, perhaps as a student exercise. Unlike in Britain, there was no dominant 'aerial pageant' here but rather many local ones, so it seems like a generic advertisement. It's dated to 1932 or 1933, but assuming the context is Australian then those would be Hawker Demons and it would be more like 1935 or 1936, when they entered RAAF service and represented the latest thing in aerial warfare down under.

Image source: State Library of Victoria.

A bit of aerial theatre from Dan Todman's (excellent) Britain's War: Into Battle, 1937-1941:

Newton Abbot, Devon, February 1941. The town is holding its War Weapons Week to promote the National Savings movement. It has been set the aim of increasing savings by £100,000 during seven days. To publicize the event, local organizers arrange a fly-over by RAF bombers from a nearby airbase. They drop 10,000 advertising leaflets, with instructions about how to take part in the savings drive. Each is headlined 'THIS MIGHT HAVE BEEN A BOMB'. Whether this is a plea or a threat, it works: Newton Abbot smashes its target, with £216,000 invested by the time the War Weapons Week ends.1

Unfortunately, I haven't been able to find a picture of one of these leaflets, or evidence of their use elsewhere in Britain, but the same phrase was used in other leaflets dropped on Hamilton in Ontario, Canada, in the very same month, by a member of the local aero club as publicity for War Savings Certificates:

War Savings Certificates leaflet

The leaflets dropped on Newton Abbot may have been something similar, though the message here is obviously slightly different ('help destroy Hitler's murderous bombers ON THE OTHER SIDE OF THE ATLANTIC') -- and would be different again when dropped on Reedsburg, Wisconsin, in January 1944 by the Civil Air Patrol ('Join the Womens' Army Corps') and when dropped on Los Angeles in December 1951, again by the Civil Air Patrol ('These could have been REAL BOMBS! EVEN A-BOMBS!') A little bit of aerial theatre travelling a long way.

  1. Daniel Todman, Britain's War: Into Battle, 1937-1941 (London: Allen Lane, 2016), 603. The source is given as TNA, NSC 7/78, 'War Weapons Weeks: Items of Special Interest'. 

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NAA: A2023, A38/2/147/677

I ended the previous post in this series with the tease:

In a final post, I will discuss what [Alban] Roberts called his airship, and what it might mean.

That was over two months ago! I think it's time to finally reveal the answer to this question.

According to Errol Martyn, who has written what must be the fullest account of Roberts' career, says that around the time of the airship's tethered test, it was 'patriotically named Australia 1'.1 He gives no source for this name and I couldn't find a reference to it in Trove or elsewhere. In fact, most of the press accounts don't call it anything other than 'the airship' or 'the dirigible'. But not all:

Mr A. J. Roberts's airship, the White Australia, left the Show Ground yesterday under its own gas [...]2


The trial flight of Mr A. J. Roberts' airship, White Australia, from the Sydney Showground, ended abruptly on Sunday afternoon.3

I find this extraordinary. Australia's first airship was named for a racist policy of ensuring an Australian nation free from non-Europeans. Why?
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  1. Errol W. Martyn, A Passion for Flight: New Zealand Aviation Before the Great War, Volume 3: The Joe Hammond Story and Military Beginnings 1910-1914 (Upper Riccarton: Volplane Press, 2013), 98. 

  2. Sun (Sydney), 5 July 1914, 4

  3. Maitland Daily Mercury, 6 July 1914, 6


In July I'll be at this year's Australian Historical Association conference, which is being hosted in Ballarat by Federation University Australia. I'm pushing my aerial theatre project along with a talk entitled 'The RAF versus the Wottnotts: Hendon's imaginary wars, 1920-1937':

The Royal Air Force (RAF) Pageants held between 1920 and 1937 at Hendon in north London were an annual series of air shows, in which large formations of military aircraft put on impressive displays of aerobatics and formation flying. These pageants were hugely popular among all classes, being witnessed each year by hundreds of thousands directly and millions more indirectly through newsreels and the press. Each pageant climaxed with an elaborate set piece in which a battle scenario with an imaginary enemy was acted out, for the entertainment and edification of the spectators. The enemies varied according to international context and the RAF's institutional interests: thinly-disguised Germans and Soviets, Arab tribes, modern-day pirates, and more abstract and industrialised targets. Paying close attention to these scenarios therefore reveals something of the RAF's conception of its own role in a environment constantly changing due to technology and politics. It reveals even more about what its leaders wanted the British public, and the world more generally, to understand about its role at a time when the lessons of the last war were being applied to the preparations for the next one.

But wait -- there's more! I'm speaking as part of a panel on the theme of 'Airmindedness: cultures of aviation'. Also on the panel are: Steve Campbell-Wright, speaking on 'The Role of Place in Remembering: Point Cook’s part in the Nation’s Identity'; Leigh Edmonds, on 'Gleaming modernity comes to Australia'; and Peter Hobbins, on 'Safer in the air? Australian apprehensions of aviation disasters'. I've never been part of a conference panel before; it's a great opportunity to make the case to the Australian historical community that aviation history is both interesting and important. Ad astra!

In December I'll be giving a talk at the Aviation Cultures Mk. II: Technology, Culture, Heritage conference at the University of Sydney, entitled 'Comparing Hendon: aerial theatre in context'. Here's the abstract:

The RAF Pageants held between 1920 and 1937 at Hendon in north London were an annual series of air shows, in which military aircraft put on impressive displays of aerobatics and formation flying, climaxing with an elaborate set piece in which a battle scenario with an imaginary enemy was acted out, for the entertainment and edification of the spectators. These pageants were hugely popular among all social classes, being witnessed each year by hundreds of thousands of people directly and many millions more indirectly through newsreels. Hendon was undoubtedly the most important British venue for staging aerial theatre, the use of aviation spectacle to project images of future warfare, national power and technological prowess. However, the RAF Pageants were not unique. In this paper I will compare them with: equivalent forms of theatre employed by the British Army and the Royal Navy; similar forms of aerial theatre staged internationally, for example in Italy, the Soviet Union and Australia; and different kinds of aerial theatre used by the RAF itself, particularly Empire Air Day. This comparative approach will enable me to demonstrate the importance of Hendon and its influence, and to understand the relationship between the specific form of aerial theatre and the messages it conveyed about war, nation and technology.

This is the start of pulling together a few themes into something publishable. As part of the revision process for my 1913 phantom airships article, I decided to cut the section on the idea of the aerial theatre and to instead expand that into an article of its own. But instead of focusing narrowly on the Edwardian aerial theatre I'll think I'll take it into the interwar period and talk about the Hendon pageants instead, which were the subject of a series of posts I did ages ago. So it's time to take another look at Hendon, and presenting at Aviation Cultures Mk. II will be a part of that process.

I see that I neglected to post about Aviation Cultures Mk. I, which was held back in February, also at the University of Sydney. I think that was because I wasn't presenting anything original, just an overview of my research interests. It was an excellent one day interdisciplinary seminar involving mostly Australian researchers from the humanities and social sciences, as well representatives from the heritage sector. A highlight for me was Michael Molkentin's paper on pre-1914 military aviation in the Dominions, where he revealed the (unsurprisingly) naive entries submitted by the public for the Australian government's competition to design an effective military machine. Peter Hobbins (one of the organisers) spoke about his work on the pioneering Cotton Aerodynamic Anti-G Suit, the remains of which we got to see (it was developed at Sydney). So with Aviation Cultures Mk. I being such a success, the programme for Mk. II has expanded to cover two days. There are a lot of papers to look forward to, but here I will just mention those given by Leigh Edmonds, author of the (I think) only study of Australian airmindedness, who will speak on 'Australian aviation and society: the feedback loop', and two by commenters on this blog, Phil Vabre (with Roger Meyer) on 'How to make the uninteresting interesting: the Airways Museum as a case study', and James Kightly (AKA JDK) on 'Tested testers: re-learning to fly the Boxkite'. Should be fun!


I'm very pleased to announce that the Journal of British Studies has accepted my article, 'The phantom airship panic of 1913: imagining aerial warfare in Britain before the Great War', for publication. This is exciting for a number of reasons. Naturally, one reason is because it's another peer-reviewed article (number six, by my count). That's always good, and even more so when you're on the job market. And it's been a while since I last had an article accepted, and while I have one or two other things in the works the pipeline was starting to look dry. It's also great to get into JBS, as it's one of the more influential history journals. I've not published in an American journal before (JBS is published by the North American Conference on British Studies), so this puts my work before a new audience (though presumbly British historians in North America read British journals too, just as those in Australia do) -- though at the admittedly high price of submitting to an American English style guide.

It's also great because, of course, phantom airships are perhaps the most characteristically Airminded (as distinct from airminded) thing I do. I've been going on about them in one way or another for the entire millennium: on this blog, in my book, my PhD thesis, my 4th year thesis, one or even I think two undergraduate essays. But while the 1913 phantom airship panic does feature in my book, it only gets about a third of one chapter (alongside the 1922 and 1935 air panics), and is treated in a very formal manner -- it's not really a good place to refer to if you want to get a good overview of what was going on. The only other academic discussion, in Alfred Gollin's The Impact of Air Power on the British People and their Government, 1909-14, is disappointingly brief. So hopefully this can become a standard reference for the 1913 panic, in the same way that the articles by Gollin and by David Clarke are for the 1909 panic. (Gollin's article was published in Albion, which merged with JBS in 2005, another reason why it's nice for them to publish my sort-of sequel.) Not that it's my last word on the phantom airships; in fact now I can cite it and build on it in future work.

Per JBS's self-archive policies, the accepted version of the article is available for download; when the final revisions are in I'll update the upload. Those of you who have been paying attention will realise that it's a revised version of an article I put up last year under a slightly different title (when submitting it to a different journal, which obviously ended up rejecting it). Since the revisions were quite extensive (the referees gave very constructive and consistent advice), it's probably worth commenting on the major changes. Most noticeably, it's considerably shorter (though not quite short). That's no bad thing; it's nearly a third shorter (nearly 5000 words!) but retains everything essential -- all else being equal more people are more likely to read the whole thing now. The parts that were discarded or modified include most of the original frame, namely the Anglo-German antagonism and the aerial theatre. They're still there in some form, but I place much less weight on them. The original aerial theatre section, in particular, I think I'll expand into a separate article; there wasn't quite the space here to do it justice and it didn't quite work the way I wanted it to. The new frame is more aligned with my actual argument (i.e. it's what I should have done in the first place), placing the phantom airships in the context of prewar and wartime myths and panics, and arguing that they were the successor and culmination of prior spy, naval and invasion panics. This also enabled me to highlight the way that the idea of aerial bombardment that existed in 1913 did not dwell on the possibility of air raids on cities. Instead it appeared more likely that Germany would use its Zeppelins to attack British military and naval facilities. There are numerous other changes which I won't go into, but overall I think it's much better. Especially since it's going to be published!