From the mid-19th century through to the early 20th, camels and cameleers were significant contributors to the
wool industry, the
mining industry, the construction of the
Overland Telegraph and the
rabbit-proof fence, and transporting water to wherever it was needed. Author Ryan Butta has highlighted the fact that the cameleers were rendered invisible in some of the popular mythologies and histories of Australia, such as
Banjo Paterson's work. Paterson spent time in
Bourke at the time the cameleers were an active part of the community and business there, yet did not write about them. Many camels were shot by police after they were superseded by modern transport, but some cameleers released their camels into the wild rather than allow them to be shot. A large population of
feral camels remains from that time. Another legacy of the camel trains is the wide streets laid out in localities from Mundaring to Norseman in Western Australia, necessary to permit the trains to turn around.
Descendants A fourth-generation descendant of a Baluch cameleer who settled in
Geraldton, Western Australia, set up a sheep station and married an Aboriginal woman, is proud of her heritage on both sides. She says that it was difficult for her ancestor to acquire permanent residence and permission to marry, and notes that, according to her understanding of history, Afghan cameleers sought to honour Aboriginal women by marrying them rather than engaging in
sexual violence. Several descendants in Adelaide formed the Australian Outback Afghan Camelmen Descendants and Friends Memorial Committee, which organised a memorial in 2007. They included Janice Taverner (née Mahomet), Mona Wilson (née Akbar), Eric Sultan, Abdul Bejah (son of Jack Bejah and grandson of
Dervish Bejah), Lil Hassan (née Fazulla), and Don Aziz.
Memorials There is a memorial at
Whitmore Square, Adelaide which pays homage to the city's Afghan camel drivers, called
Voyagers and created by South Australian artist Shaun Kirby and his company Thylacine Art Projects. It was unveiled on the night of 11 December 2007, so that the lighting of the sculpture could be appreciated. It is in the shape of a
crescent, evocative of
sand dunes in the deserts of South Australia as well as the
Hilal (crescent moon) associated with Islam. The curved wall is covered with handmade rippled tiles, produced at the
JamFactory. There is a red metalwork decorative screen with traditional Islamic patterning on the front of the crescent. The memorial does not have a plaque, but there is a small stone obelisk in front of the crescent wall with Arabic writing. There is also a bronze plaque honouring
Bejah Dervish on the
Jubilee 150 Walkway on North Terrace. It reads "Dervish Bejah, c1862-1957, Camel-driver, explorer". A commemorative plaque for
Faiz and Tagh Mahomet on
St Georges Terrace in
Perth acknowledges their contributions as camel owners and drivers in the 1890s in opening up the interior of Western Australia before the building of the railway.
In film • A 2020 documentary,
The Afghan Cameleers in Australia, directed by Afghan/Australian filmmaker
Fahim Hashimy, explores and records the relationships that many cameleers formed with Aboriginal women, and their descendants. • The 2020 drama
feature film,
The Furnace is set during the
gold rushes in Western Australia and highlights the roles of Afghan cameleers. •
Watandar, My Countryman is a documentary film directed by
Jolyon Hoff and co-written and co-produced by Hazara photographer Muzafar Ali, who arrived in Australia as a refugee in 2015. The film, which explores the concept of identity, arose after Ali started investigating the long history of Afghan people in Australia. It premiered at the
Adelaide Film Festival in October 2022. The film features
Nici Cumpston, artistic director of
Tarnanthi, and curator of
Aboriginal and Torres Strait Islander art at the
Art Gallery of South Australia. ==Mosques==