Badge depicting tree of tears with text 'Stolen Generations commemorative badge, Sorry Day - 26th May'. In the 1990s the Australian Human Rights and Equal Opportunity Commission commenced an inquiry into the forced removal of the children. The Bringing Them Home report, tabled in Parliament on 26 May 1997, acknowledged the longstanding practice and the devastating impact that the removal policies had on children and their families. One of the key recommendations of the report was an official apology from the government. As part of the grassroots campaign calling for an apology, the first National Sorry Day was held on 26 May 1998.

Six loose leaf double-sided pages of black and white photographs from an album once belonging to Gwendolyn Edith Millicent Risson (née Spurgin). The photographs include university excursions, possibly at Townsville, Palm Island and Tweed Heads, and at least one with Dorothy Hill. There are also some photographs of current events, including the visit of the Duke and Duchess of York in 1927, and the Sydney Harbour Bridge under construction.

Handwritten history of Moongalba including hand drawn map with names of inhabitants (9 p.) -- "Grannies Moongalba history" list of Grannies of Moongalba -- 'Australian Aboriginal legend of the lightnings playground on Moreton Island (Moolgunfun) -- four handwritten partial pages -- one newspaper cutting from the Telegraph Feb 28 1936 on Sam Rollands -- two photographs of Paul Tripcony's grandmother Sydney Rollands (mother of Sam Rollands) -- photograph of Paul Tripcony aged about 22, inscribed to Dear Vince with best wishes from Paul -- photograph of Fernandez Gonzales and family showing dugong fillets -- photograph of early Amity.

Original Super8 film of protests by Aboriginal Australians before and during the 1982 Commonwealth Games in Brisbane. Footage by Ian Curr and Lachlan Hurse. Accompanied by DVD copy.

Contents:
Section A
First rally, 3 Aug 1981
Tent Embassy King George Square; speaker Cheryl Buchanon

Section B
Roma Street Forum
Speakers include Phil Perrier, G Gen

Section C
March up Turbot Street
1982 Commonwealth Games sign
Kooris support Murris
Adelaide St March (silent)
Boomerang Tours Bus
Black control of Aboriginal affairs – Land rights ban
Abolish QLD Acts
Land Rights chanting and banners and people looking on in Adelaide Street
Sit down and bystanders
Adelaide and George Streets

Section D
Musgrave Park Tent City 1982 protests
Left arts
Preparing to march from Garden City, final instructions
Approach to Games site over freeway
Police blockade
QEII in distance
Confrontation with police
Sit down
Arrests begin
Land rights flags
Media, including Aboriginal film crew
Special branch

Section E
Roma Street Forum
Speakers include: Kay Saunders, Axe Fraser, N. Bonner, Oodgeroo Noonuccal (speech and poem) Mick Miller (TV and media focus created by marching), Cheryl Buchanon, Susan Ryan (ALP senator), Gary Foley.
March up Turbot Street (beginning)
John Tracy and child
March coming around

"Read before the Royal Society of N.S. Wales, June 3, 1896." Note on cover: 'Information on the same subject from two other sources'.
Last page entitled 'Mika or Kulpi' includes extracts from 'Psychology of Sex' by Havelock Ellis (1917) and 'Strange Sexual Customs' by Professor Paulo Montegazza (1932).

Typescript poem with handwritten title and date.

Draft typescript article written by Richard Fotheringham for The Australian Literary Review which was published with the title 'Inside the killing fields of Queensland' on October 6, 2010, pp. 12-13. This article was written after the discovery of a memoir by Thomas Davis, father of Arthur Hoey Davis (aka "Steele Rudd"), which discussed massacres of Australian Aborigines in his time of working in Queensland in the 1800s. Fotheringham suggested the name of the manuscript.

Content advice: Aboriginal and Torres Strait Islander peoples are warned that this resource may contain images, transcripts or names of Aboriginal and Torres Strait Islander peoples now deceased. It may also contain historically and culturally sensitive words, terms, and descriptions.

This transcription of the original item was compiled and annotated by Richard Fotheringham. There is a note in the top right-hand corner 'In the posession [sic] of Hon. Joshua Thomas Bell circ. 1908-9'. Footnote on first page: 'Two manuscript notes in different hands are written in the right margin at this point ... indicates that this was compiled c. 1902 (Thomas died Jan 1904).' These recollections were shared with his son, Arthur Hoey Davis (1868-1935) (whose pen name was Steele Rudd) mostly likely in the early 1900's. Thomas Davis was a former convict. His memoir covers the period from 1849 to the separation of Queensland from New South Wales in 1859. Davis initially worked with J. C. Burnett's Survey Party. He recounts stories of the places he visited and their history, various encounters with local indigenous groups and individuals, language and culture of the Aboriginal people of the area, kinship system in the Maronoa and Balonne region, and a list of more than 100 names and phrases in the dialect of the people of the Balonne, Dawson and Comet river. Joshua Peter Bell is mentioned several times in memoir. This and other recollections by Thomas Davis were collected by Joshua Thomas Bell in the first decade of the 20th century.

Album of 120 black and white photographs aranged chronologically.
Photographs show the Duke of Gloucester conducting official duties during his visit to Queensland in 1934. Places featured include: Wallangarra, Stanthorpe, Warwick, Clifton, Toowoomba, Gatton (including Agricultural College), Laidley, Rosewood, Ipswich, central Brisbane, Cleveland, Wynnum, R.N.A. Exhibition Grounds, University of Queensland, Bowen Park (Brisbane), Rosemount Repatriation Hospital, Archerfield Aerodrome, Dalgety's Wharf, and H.M.A.S. Australia on the Brisbane River. Photographs of Archerfield Aerodrome show the Duke dispatching the first airmail of the Australia-Great Britain Service.
Photographs are (10 x 14.5 cm and larger) mounted on boards with handwritten captions. Album bound in red leather. Cover title.

Album of 52 albumen prints, (20 x 15cm) mounted on board. Written on the images in white capital letters are captions, a photographic number and the name of the photographic studio 'Kerry, Photo, Sydney'. Handwritten on the mounting boards are pencil captions, often with less information than the captions on the images and the photographic number supplied by Kerry crossed out and alternative numbering provided. The album itself has been bound and has a handwritten spine title stuck to it "Australian Aboriginal ceremonies". It looks to have been added to the album at a later date, thus not the original title of the album.

The images are of Australian Aboriginal people in what appears to be mostly staged poses for Australian Aboriginal ceremonies, corroborees, dance, tracking, fights as well as photographs of various individuals. Some of the photographs have painted backdrops. Some of the people in the photographs were members of "Meston's Wild Australia" (also know as Archibald Meston's "Wild Australia Show"). There are some photographs that were most likely taken in Sydney in December 1892 by Charles Kerry. This is based on the beach setting and the backdrops being identical to those photographs for Archibald Meston's "Wild Australia Show".

Listed below are the contents of the album. The number corresponds to the page number in the album; the tile is what appears on the image itself; and in brackets is the Kerry Studio photograph number and the alternative number if provided. Information in square brackets is provided by the processing archivist:

1. Aboriginal ceremony. Death of the deity (Kerry, Photograph number 2804 / 136). --
2. Leaving the bora ceremony (Kerry, Photograph number 2616). --
3. Crossing the mystic figures (Kerry, Photograph number 2614 / 137). --
4. Approaching the kings ground (Kerry, Photograph number 2615 / 138). --
5. Aboriginal ceremony "The sick warrior" (Kerry, Photograph number 2598 / 139). --
6. Aboriginal ceremony "Lying in wait" (Kerry, Photograph number 2608 / 140). --
7. Aboriginal ceremony "Death of the wild boar" (Kerry, Photograph number 2603 / 141). --
8. Aboriginal ceremony "Arrival of the king" (Kerry, Photograph number 2605 / 142). --
9. Aboriginal bora. "Waiting the decision of the king" (Kerry, Photograph number 2617 / 143). --
10. Aboriginal ceremony. "A duel to the death" (Kerry, Photograph number 2610 / 144). --
11. Aborigines worshiping figure of the deity (Kerry, Photograph number 2597 / 145). --
12. Arrival of the novices [unable to decipher writing on photograph] (Kerry, Photograph number 2611 / 146). --
13. Aboriginal ceremony "Warriors in ambush" (Kerry, Photograph number 2600). --
14. Aboriginal ceremony "Opening the Bora" (Kerry, Photograph number 2609 / 147). --
15. Aboriginal ceremony, "Spearing the wild bull" (Kerry, Photograph number 2599 / 148). --
16. Aboriginal corroboree "A battle" (Kerry, Photograph number 2586 / 149). --
17. Aboriginal ceremony "Following the footsteps of the deity" (Kerry, Photograph number 2606 / 150). --
18. Waiting for instructions ([Kerry, Photograph number] 2612 / 151). --
19. Aboriginals "Corroboree" (Kerry, Photograph number 2584). --
20. Aboriginal ceremony, "The Bora tree" (Kerry, Photograph number 2607 / 152). --
21. Aboriginal ceremony, "Spearing the Alligator" (Kerry, Photograph number 2601/ 153). --
22. Aboriginal ceremony, "Gathering wild bird eggs" (Kerry, Photograph number 2602 / 154). --
23. Aboriginals "Corroboree" (Kerry, Photograph number 2585 / 155). --
24. Aboriginal corroboree "Healing the sick warrior" (Kerry, Photograph number 2588 / 156). --
25. [Writing indecipherable] "Drafting sheep" (Kerry, Photograph number 2587 / 157). --
26. Aboriginals tracking ([Kerry, Photograph number] 2583 / 158). --
27. Corroboree Austn Aborigines [painted backdrop] (Kerry, Photograph number 1360 / 159). --
28. "Wermugga Dance" Austn Aboriginals [painted backdrop] (Kerry, Photograph number 1361 / 160). --
29. Aboriginals & Black Trackers (Kerry, Photograph number 1388 / 161). --
30. Group fighting men [painted backdrop] (Kerry, Photograph number 1391 / 162). --
31. Bora Corroboree (Kerry, Photograph number 1390). --
32. Aboriginal Corroboree (Kerry, Photograph number 1367). --
33. Fish Corroboree (Kerry, Photograph number 1393 / 163). --
34. Aboriginals & Black Trackers (Kerry, Photograph number 1378 / 164). --
35. Wermugga Corroboree (Kerry, Photograph number 1392 / 165). --
36. Aboriginals & Black Tracker (Kerry, Photograph number 1389 / 166). --
37. [Writing indecipherable on photograph] Group of Northern Territory natives (Kerry, Photograph number 1368). --
38. An Aboriginal fight (Kerry, Photograph number 2553). --
39. Aboriginals, upper Macleay River (Kerry, Photograph number 2162 / 167). --
40. Aboriginals, upper Macleay River (Kerry, Photograph number 2160). --
41. Aboriginals, upper Macleay River (Kerry, Photograph number 2161). --
42. Darling R. natives (Kerry, Photograph number 141). --
43. Aboriginal climbing tree (Kerry, Photograph number 2126 / 168). --
44. Aboriginal spearing fish (Kerry, Photograph number 2125 / 169). --
45. Native climbing with vine (Kerry, Photograph number 535). --
46. "Wharangoo". Aboriginal, Tenterfield District [painted backdrop] (Kerry, Photograph number 1989 / 170). --
47. "Borree", Aboriginal Chief, Jervis Bay (Kerry, Photograph number 2013). --
48. "Yenohan". Girl, Tumut Tribe, N.S.W. (Kerry, Photograph number 1899 / 171). --
49. Aboriginal women [painted backdrop] (Kerry, Photograph number 1914 / 172). --
50. Aboriginal girl, Brungle [painted backdrop] (Kerry, Photograph number 1913 / 173). --
51. Aboriginal warrior, Bellinger River (Kerry, Photograph number 2014). --
52. Aboriginal with Derri Head dress (Kerry, Photograph number 1371 / 174).

Content advice: Aboriginal and Torres Strait Islander peoples are warned that photographs may contain images of Aboriginal and Islander people now deceased. It may also contain historically and culturally sensitive words, terms and descriptions. The descendants' request was that the subjects of the photos be recognised as Wailwan. None of the descendants expressed any desire to censor or withdraw the photos from general viewing. In particular, women should be cautious when viewing the image as it includes some aspects of traditional Men's Business.