The First World Festival of Black Arts was held in 1966 Dakar, Senegal. Nigeria was invited to hold the second festival in 1970. This second festival, called the Second World Black and African Festival of Arts and Culture was to be held in November/December 1975. Political problems in Nigeria caused the festival to be postponed for some years, but it was finally staged as "Festac '77" in Lagos in January, 1977.

As part of the preparations for Australia’s involvement in the festival, an Australian Coordinating Committee was formed in February 1974. In October 1974 Kath Walker was asked to become involved in this committee. Kath Walker attended the 5th meeting of the International Festival Committee held in Kaduna in November 1974. On her return flight, the British Overseas Airways Corporation (BOAC) plane she was travelling on was hijacked in Dubai and flown to Tunisia. The hijack lasted three days, and one passenger was killed. She wrote two poems during this ordeal (held in Series A Subseries 1).

During the lead up to the Festival in 1977, Kath Walker was involved in the preparations for the event and eventually attended it as an Australian delegate and senior advisor.

These folders include documents from the Department of Aboriginal Affairs; correspondence, meeting agendas, minutes and reports for the Nigerian Co-coordinating Committee of the Second World Black and African Festival of Arts and Culture; an open letter to the NSW Jewish Board of Deputies (dated 24 Jul 1975) regarding the poems, Yussef and Commonplace which she wrote when her plane was hijacked; reports from other countries; contract between Kath Walker and The Elizabethan Theatre Trust; Itineraries and quotations for proposed group travel to Nigeria with general background information about Africa from ACTU World Travel; Aboriginal Theatre Foundation - correspondence with Department of Aboriginal Affairs and interim reports regarding costings and budget for dancers, musicians and song men for trip to festival; and Tickets, invitations, brochures, programmes, report by Kath Walker about festival to the Australia Council, souvenirs, 1977.

Included in this file is materials, often accompanied by correspondence, such as leaflets, newsletters, minutes of meetings, and reports of activities, that relate to the following: Australian Participation in United States Bicentennial Celebrations; Australian Council of Churches; Australia Council. Public Lending Right Committee; Australian National Anthem Quest; Christian Science Monitor; Conference on Inter-cultural Education; Ethnic Broadcasting Association of Queensland; Festival Music Pty Ltd; Orange Festival of Arts; World Literature Today; Popular Theatre Troupe (includes the following programmes) -- Black Theatre Arts and Culture Centre proudly presents “The Cakeman” by Robert J. Merritt , 9th January thru to 30th, Directed by Bob Maza. -- Aboriginal Mowanjum Dancers Parkerville Amphitheatre: Jan 22-31. Presented by the Aboriginal Theatre Foundation with assistance of the Australian Council for the Arts. --Yeti presents on stage Vietnam, directed by Paul Richards, choreographed by Vivian Walker; Queensland Multicultural Task Force; Queensland Arts Conference; and Australian Institute of Landscape Architects Conference, August 1984 (Kath Walker presented a paper on significant landscapes in the histories of Aboriginal peoples, with special reference to Stradbroke Island)

Poems and prose from admirers. Some of these writers are not identified. Some were regular correspondents. The writings in this file may also relate to letters from correspondents held elsewhere in the collection.

This file includes:
Curriculum Vitae of Kath Walker, Managing Director of the Moongalba Noonuccal-Nughie Education and Cultural Centre, 1978;
'Sidelights on a profile ... Kath Walker. C/M 3 June 1981';
Exercise book with 'Biography' on cover which has the handwritten story that starts 'On November 3rd 1920, two events took place at...';
Typescript autobiography that starts with a poem 'When the white glug contemptuously...' (8 pages, page 3 missing);
Typescript copy with heading 'Kathleen Jean Mary Walker' that begins 'On November 3rd, 1920 two events took place...' (4 pages) with poem 'Song of hope' attached;
Handwritten notes for curriculum vitae;
Photocopy of 1 page biography from book (unknown);
'Kath Walker story' by Bruce Dickson, June 9 1981;
3 cards (13 x 21 cm) with handwritten notes (on both sides) about 'Florries Place and the beach at Dunwich' 16 Nov 1976;
1 page (21 cm) with handwriting that begins 'A biography of Kath Walker as an example of the role of aboriginal women...' (undated);
13 pages (21 cm) with handwriting that begins 'That the small black baby girl born in....' (undated);
6 pages of handwritten notes.

The original folder was titled 'Poems unpublished' and has a contents listing by Kath Walker. Some poems have been published since the author created this file. It contains 34 poems, some with copies or drafts. The poems are:

1. 'I'm Not’ (3 drafts, one handwritten);
2. ‘Westerlies’ (On the back of ‘The glass island’ by Laurie Neill);
3. ‘Butcher Bird’ (4 drafts, one handwritten);
4. ‘Hari Sastra’ (3 handwritten drafts);
5. ‘Little Bean’ (2 drafts, one handwritten);
6. ‘Oration’ (5 drafts);
7. ‘Full Moon’ (5 drafts);
8. ‘Mangrove Bird’ (7 drafts);
9. ‘Exhausted’ (2 drafts);
10. ‘Wedding Song’ (6 drafts);
11. ‘Dead Wood’ (6 drafts);
12. ‘Hercules’ (2 drafts);
13. ‘Child of Two Races’ (2 drafts);
14. ‘No Place to Go’ (3 drafts, one handwritten);
15. ‘Roebun Lament’ (2 drafts);
16. ‘Blue Crane’ (handwritten);
17. ‘Will I?’ (3 drafts);
18. ‘Minjerriba’ (4 drafts, one handwritten);
19. ‘To a Policeman’ (3 drafts);
20. ‘Noises’ (3 drafts, one handwritten);
21. ‘Credit and Loss’ (4 drafts);
22. ‘Furry Friend’ (4 drafts);
23. ‘Can you?’ (6 drafts);
24. ‘Lovers Quarrel’ (4 drafts);
25. ‘Yussef’ (6 drafts, two handwritten (one on a British airways waste disposal bag with an accompanying letter);
26. ‘Commonplace’ (4 drafts, one a photocopied handwritten draft);
27. ‘The Fisherman’ (3 drafts);
28. ‘Grey Gum’;
29. ‘Civilised Man’ (3 drafts, one handwritten);
30. ‘Sunrise over Stradbroke’ (3 drafts);
31. ‘Poets (for Jack Davis)’ (3 drafts, one handwritten);
32. ‘Black Prostitute’ (3 drafts, one handwritten);
33. ‘Sister Poet’ (1 draft, 1 carbon copy);
34. ‘Iban Long house’ (3 drafts, one handwritten).

Original folder titled 'French translations of Colloquium papers' and contains 10 poems: ‘Le Crime du Pere Jacquot Le Noir’ (incomple), ‘Le Racisme’, ‘Le Bunyip’, ‘Banal’, ‘Yussef (Hi-jacker)’, ‘La Civilisation’, ‘Mon Enfant’, ‘Mont Bluff’, ‘Les Droits De L'Aborigine’, and ‘Premiere Partie La Nature du Reve’ (incomplete).

Original folder was titled 'Short stories'. There is one screen play and 28 short stories. Some are edited or annotated; some have multiple drafts; some are written by Kathryn Ruska. Contains the following short stories:
‘The Armada’;
‘Black Jimmy's Crime’;
‘Boonah’;
‘The Boy who shot the kookaburra’ (condensed from Stradbroke Dreamtime) [on heat sensitive paper];
‘The Bunyip’ (4 versions, one by Kathryn Ruska);
‘The Bush Ranger’ (by Ruska);
‘Cookie’;
‘Edward Ruska’ (2 drafts, one missing first page);
‘Fantasy in Sepia’;
‘Flight into Tunis’ (2 drafts);
‘Gooboora and the Bunyip’;
‘Gubbin and Grasshopper’ (5 drafts);
‘Joshua and Roo-Roo’;
‘Judge Not’ (K. Ruska);
‘Koo-Poo’ (3 drafts);
‘Koorie and Boorie’ (2 drafts);
‘Lucy McCullock’;
‘The Magic Hour’ (2 drafts by Kathryn Ruska);
‘The Magic Hour’ (screenplay);
‘No Horses for a Month’ (2 drafts);
‘Poetic Justice’;
‘The Rosary Beads’ (2 drafts);
‘Swans and Che’ (handwritten);
‘The Tail of Pinky Platypus’ (2 drafts by Kathryn Ruska);
‘Tiny and Wee’ (3 drafts; one by Kathryn Ruska) ;
‘The Turtle’;
‘The Unhappy Golliwog’ (3 drafts; one by Kathryn Ruska);
‘We look after our own’ (2 handwritten drafts); and
‘What the Seagulls told me’.

The original folder was titled 'Manuscripts submitted to A&R' and contains short stories and poems submitted to Angus and Robertson. Some have corrections and annotations. Indicated in square brackets after the tile are handwritten notes that appear on the first page. Some may also have corrections. This file contains:
‘Beginning of Life’ (published as ‘The Beginning of Life’) [submitted to A&R. Accepted];
‘Biami and Bunyip’ [submitted to A&R. Accepted];
‘Burr+Nong (Bora Ring)’ [submitted to A&R. Accepted];
Boonah (Bloodwood Gum)' [submitted to A&R.];
‘The Carpet Snake’ (published as Carpet Snake) [submitted to A&R. Accepted];
‘Curlew’ [submitted to A&R. Accepted];
‘Dear Boys and Girls’ (letter) [submitted to A&R. Accepted];
‘The Dugong Hunt’ (published as Dugong Coming!) [submitted to A&R. Accepted];
‘Dunwich Stradbroke Island Assimilation of Aborigines’ (2 drafts);
‘Edward Ruska’;
'The Exercise Book' [submitted to A&R.];
‘The Fisherman’ [? submitted to A&R.];
‘Going Crabbing’ [original had not submitted to A&R but the not has been crossed out. Accepted];
‘The Hunter’ (published as The Shark) [submitted to A&R. Accepted];
‘Interlude’ [submitted to A&R. Accepted];
'Joshua and Roo-Roo';
'Kill to eat' [submitted to A&R. Accepted];
'Mai (Black Bean)';
‘Midden’ (published as ‘The Midden’) [submitted to A&R. Accepted];
‘Mirrabooka (Southern Cross)’ [submitted to A&R. Accepted];
‘Muma's Pet’ [submitted to A&R.];
‘Not Our Day’ [submitted to A&R.];
‘Pomera (Banksia)’ [submitted to A&R. Accepted];
‘Racism’ (3 copies);
‘School Days’ [submitted to A&R. Accepted];
‘Stradbroke’ [submitted to A&R. Accepted];
‘Talwalpin (Cotton Tree) and Kowinka (Red Mangrove)' [submitted to A&R. Accepted];
'Tia Gam (Lawyer Vine)' [submitted to A&R. Accepted];
'Tuggan-Tuggan (Silky Oak)' [submitted to A&R. Accepted];
‘We three’ (poem) [submitted to A&R.];
'Wher's Mother (published as Where's Mother) [submitted to A&R. Accepted];
'Wonga and Nudu' [submitted to A&R. Accepted].

The original folder was titled 'Contracts, Novels'. It contains two copies of a contract between Kath Walker and Thomas Nelson for a literary work to be entitled 'New poems', undated. In the folder are two typescript drafts of the novel 'The Drunken Rhyme' (one copy with 10 chapters and one with 11).

This file includes letters from organisations and individuals asking Oodgeroo Noonuccal to appear in programs, provide content, be interviewed, and give permissions to use her literary works for radio productions. Correspondents include: Radio 4EB, Radio 2EA.