The People of K'gari/Fraser Island

genealogy

Article The People of K’Gari/Fraser Island: Working through 250 Years of Racial Double Coding

Fiona Foley † Queensland College of Art, Griﬃth University, South Brisbane 4101, Australia; ﬁ[email protected] Note: Fiona Foley is an artist, academic and provocateur. Over a career now spanning thirty years † she has explored the frontier wars waged against Aboriginal peoples and brought the ‘hidden histories’ of the massacres and Queensland state sanctioned opium use into galleries, public spaces, and a broader, society-wide debate.

Received: 28 May 2020; Accepted: 2 July 2020; Published: 8 July 2020

Abstract: Genealogy is important to Aboriginal societies in Australia because it lets us know who has a right to speak for country. Our genealogy binds us to our traditional country as sovereign nations—clans with distinct languages, ceremony, laws, rights and responsibilities. Since the Native Title Act 1993 was passed by the Keating government, hundreds of Native Title claims have been lodged. The ﬁrst Native Title claim to be lodged on Badtjala/Butchulla country was in 1996 by my great aunty, Olga Miller, followed by the Butchulla People #2 and the Butchulla People (Land & Sea Claim #2). Consent determination was awarded for K’gari (Fraser Island) in 2014 and for the mainland claim in 2019. As a sovereign nation, we have undergone many decades of deprivational longing—physically separated from our island, but in plain view. This article is written from a Badtjala lens, mapping generations of my Wondunna clan family through the eyes of an artist-academic who has created work since 1986 invested in cultural responsibility. With the accompanying ﬁlm, Out of the Sea Like Cloud, I recenter the Badtjala history from a personal and local perspective, that incorporates national and international histories.

Keywords: de-colonial; sovereignty; Aboriginal art; Australian history; K’gari (Fraser Island)

1. Introduction: The Badtjala Nation I am from the Wondunna Clan of the Badtjala nation. Our traditional country is the region encompassing all of K’gari/Fraser Island oﬀ of the southern coast of Queensland, Australia. K’gari, the largest sand island in the world, is under the management of Queensland National Parks and Wildlife Service. She (the island) is also listed as a UNESCO World Heritage Site. On the mainland, our traditional boundaries extend from Double Island Point in the south, to Bauple Mountain in the west, and to the mouth of the Burrum River in the north (Reeves and Miller 1964). We speak as a sovereign nation as our rights have not been ceded. Our ongoing commitment to our country, and the reintroduction of our language back into common usage, have been long and active processes full of tenacity. See Figure1. Like my known and unknown ancestors, my life has been about the ﬁght for justice for Aboriginal people. My platform has been through the visual arts, which has included solo exhibitions, public art commissions, public speeches, a Ph.D., and a publication entitled Biting the Clouds (Foley 2020). See Figure2.

Genealogy 2020, 4, 74; doi:10.3390/genealogy4030074 www.mdpi.com/journal/genealogy Genealogy 2020, 4, x FOR PEER REVIEW 2 of 16

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Figure 1. Fiona Foley’s mother, cultural activist Shirley Foley, on K’gari (Fraser Island). Photograph courtesy of Fiona Foley.

Like my known and unknown ancestors, my life has been about the fight for justice for Aboriginal people. My platform has been through the visual arts, which has included solo exhibitions,Figure 1. public Fiona Foley’sart commissions, mother, cultural public activist speeches, Shirley a Foley, Ph.D., onon and K’gariK’gari a (Fraserpublication(Fraser Island).Island). entitled Photograph Biting the Cloudscourtesy (Foley of 2020). Fiona See Foley. Figure 2.

Figure 2. The cover of Fiona Foley’s forthcoming book, Biting the Clouds, which refers to a Chinese Figureexpression 2. The for cover smoking of Fiona opium. Foley’s The photograph forthcoming by book, Foley Biting is a ﬁeld the ofClouds poppies., which refers to a Chinese expression for smoking opium. The photograph by Foley is a field of poppies. Throughout my career, I have joined other Aboriginal artists, public intellectuals, academics and writers who have been at the forefront in changing the dominant colonial narratives and confronting structural racism. As Bruce Pascoe states, “Any nation’s artists and thinkers set the tone and breadth Figure 2. The cover of Fiona Foley’s forthcoming book, Biting the Clouds, which refers to a Chinese expression for smoking opium. The photograph by Foley is a field of poppies.

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GenealogyThroughout2020, 4, 74 my career, I have joined other Aboriginal artists, public intellectuals, academics3 ofand 15 writers who have been at the forefront in changing the dominant colonial narratives and confronting structural racism. As Bruce Pascoe states, “Any nation’s artists and thinkers set the tone and breadth of national conversation” (Pascoe (Pascoe 2019,2019, p. p. 100). 100). Decolonizing Decolonizing the the histories histories of of Queensland Queensland has has been been a alifetime lifetime passion passion of of mine. mine. In In this this article, article, I Idemonstrate demonstrate that that while while English English colonists colonists and and the the Western academy wrote a history for our people, thethe gazegaze hashas alwaysalways gonegone bothboth ways.ways. See Figure3 3..

Figure 3.3. FionaFiona Foley’sFoley’sWatching Watching and and Waiting Waitingfrom from her her series seriesHorror Horror Has A Has Face A, #8.Face (2017), #8. Fujiflex(2017) Fujiflex Digital Print.Digital Edition Print. Edition 15. 45 15.80 cm.45 × Reproduced80 cm. Reproduced courtesy co ofurtesy the artist of the and artist Andrew and BakerAndrew Art Baker Dealer, Art Brisbane. Dealer, × Brisbane. In the historiography of place, there have been a number of events beyond our control that have shapedIn the who historiography the Badtjala are of place, as a people. there have In a Europeanbeen a number linear of narrative, events beyond one of our those control key dates that have was 1836shaped (Scha whoffer the 1995 Badtjala; McNiven are as et a al.people. 1998). In The a Euro Badtjalapean namelinear fornarrative, our island, one K’gari,of those became key dates known was as1836 “Fraser (Schaffer Island” 1995; after McNiven the Stirling et al. Castle1998). shipwreckedThe Badtjala name off the for coast our of island, the island. K’gari, Captain became Fraser known was as speared“Fraser Island” and his wife,after Eliza—accordingthe Stirling Castle to shipwrecked legend—was off rescued the coast two monthsof the island. later by Captain an escaped Fraser convict was whospeared had and lived his with wife, tribal Eliza—according Aboriginals in to South legend—was East Queensland rescued two and months could speak later severalby an escaped of their languagesconvict who (Miller had lived 1998 ;with Foley tribal 1998 ).Aboriginals in South East Queensland and could speak several of their Inlanguages Larissa Behrendt’s (Miller 1998;Finding Foley Eliza1998).(Behrendt 2016) she unpacks British fears of cohabitation by highlighting,In Larissa “once Behrendt’s these anxieties Finding found Eliza expression(Behrendt and2016) form she in unpacks narratives British such asfears Eliza’s, of abduction they justified by thehighlighting, mechanisms “once for surveillancethese anxieties of Aboriginalfound expression people and through form policing in narratives practices, such legal as Eliza’s, control they and governmentjustified the policy.”mechanisms The unspoken for surveillance fear, in Eliza’sof Aboriginal case, was people that this through white womanpolicing could practices, be sexually legal violatedcontrol and by government Aboriginal men policy.” if not The rescued. unspoken Racialized fear, in Eliza’s anxieties case, have was formulated that this white many woman patterns could of structuralbe sexually behaviours violated by used Aboriginal to subjugate men Aboriginal if not rescued. men, Racialized women and anxieties children have in Australia. formulated many patternsThe intensityof structural of the behaviours unknown forused the to Badtjala subjugate people Aboriginal and the English,men, women I imagine, and wouldchildren have in createdAustralia. a heightened sense of curiosity upon seeing one another. The Frasers were not our first brush withThe the Englishintensity on of K’gari. the unknown In May for of 1770,the Badtjala many Aboriginalpeople and sovereign the English, nations I imagine, watched would a foreign have vessel,created the a heightenedEndeavour, sailsense up of the curiosity eastern upon coast forseeing days, one passing another. nation The afterFrasers nation, were who not communicatedour first brush with onethe anotherEnglish abouton K’gari. its progress. In May Theof 1770, Badtjala many people Aboriginal were unique sovereign because, nations not manywatched people a foreign in the worldvessel, wouldthe Endeavour be aware,, theysail createdup the aeastern song recounting coast for what days, happened passing when nation the shipafter passednation, by who our countrycommunicated on May with 20th one of thatanother year. abou Thetsong its progress. takes place The on Badtjala a volcanic people headland were unique of K’gari because, known not in Badtjalamany people as Takky in the Wooroo. world would What Ibe love aware, about they this created song are a song the layersrecounting of metaphors what happened contained when within the oneship verse:passed by our country on May 20th of that year. The song takes place on a volcanic headland of K’gari known in Badtjala as Takky Wooroo. What I love about this song are the layers of metaphors The ship rose up out of the sea like cloud, contained within one verse: and kept near land for three or four days. OneThe ship day itrose came up inout very of the close sea to like Takky cloud, Wooroo Andand kept they near saw manyland for men three walking or four around days. on it. TheyOne day asked it came each in other very who close are to these Takky strangers? Wooroo And where are they going? Genealogy 2020, 4, x FOR PEER REVIEW 4 of 16

And they saw many men walking around on it. They asked each other who are these strangers? GenealogyAnd2020 where, 4, 74 are they going? 4 of 15 One of those strangers was Captain James Cook, who named three sites on Badtjala country, includingOne ofTakky those Wooroo, strangers which was he Captain called James“Indian Cook, Head who”. This named renaming three provides sites on the Badtjala first evidence country, ofincluding British racialisation Takky Wooroo, in Australia—an which he called attempt “Indian to Head”. categorise This and renaming rank people, provides as theJodi ﬁrst A. Byrd evidence writes of inBritish The Transit racialization of Empire in, Australia—an in order “to facilitate, attempt justify, to categorize and rati andonalise rank the people, state-sponsored as Jodi A. Byrd violence writes that in Thetear Transitland, resources, of Empire, in and order sovereig “to facilitate,nty from justify, indigenous and rationalize people”(Byrd the state-sponsored 2011, p. 54). violenceCook chose that tearthe nameland, resources,not because and the sovereignty landscape fromlooked indigenous like an Indi people”(an’s head,Byrd but2011 because, p. 54). the Cook English chose explorers the name notfelt thebecause need the to classify landscape and looked racialise like thousands an Indian’s of head,Badtjala but people because amassed the English on top mariners of the rock felt the observing need to them.classify and racialize thousands of Badtjala people amassed on top of the rock observing them. At the the sight sight of of Aboriginal Aboriginal people people,, Cook Cook and and Sir SirJoseph Joseph Banks Banks enga engagedged in a discussion in a discussion about about their skintheir colour skin colour and hair and texture hair texture to try to and try defi andne deﬁne a new a new“race” “race” of hu ofmans. humans. For instance, For instance, in Cook: in Cook: The TheExtraordinary Extraordinary Voyages Voyages of Captain of Captain James James Cook Cook, Nicolas, Nicolas Thomas Thomas writes writes that that the the English English were were perplexed perplexed because, Aboriginal hair, “was not woolly or frizzled but as Cook put it ‘black and lank and much like ours’” ours’” (Thomas (Thomas 2003,2003 ,p. p. 114). 114). Not Not wanting wanting to to classify classify them them as as Negroes, Negroes, they they referred referred to tothem them as Indian.as Indian. Unfortunately, Unfortunately, Thomas Thomas does does not not write write ab aboutout the the Badtjala’s Badtjala’s perspective perspective on on Cook Cook in in his publication. Like Like the the international international tourists tourists who who visi visitt K’gari K’gari on on a a daily basis, he is unaware of their existence, let let alone alone their their song. song. This This one-sided one-sided coloni colonialal narrative narrative silences silences Badtjala Badtjala voices voices and andhas far- has reachingfar-reaching collateral collateral damage damage in society in society ranging ranging from from the theacademy academy to Australian to Australian tourism. tourism.

2. Decolonizing Decolonizing the Coloni Colonialal Narrative Through Art As a five-year ﬁve-year child, I remember looking across to K’gari and experiencing a a deep deep sense sense of of loss. loss. It was a loss for my country, for my culture, and for my old old people, people, who who were were forced forced off oﬀ thethe island. island. A deep visceral connection to mymy countrycountry waswas alreadyalready inin mymy soul.soul. See Figure4 4..

Figure 4.4. Fiona Foley’sFoley’sSilent Silent Witnesses Witnessesfrom from her her series seriesHorror Horror Has Has A Face A ,Face #18., #18. (2017) (2017) Fujiﬂex Fujiflex Digital Digital Print. Print.Edition Edition 15. 45 15.80 45 cm. × 80 Image cm. reproducedImage reproduced courtesy courtesy of the artist of the and ar Andrewtist and Andrew Baker Art Baker Dealer, Art Brisbane. Dealer, × Brisbane. Soon afterwards, I became a racialized person—not from my family, but by others—when I enteredSoon the afterwards, school gates I atbecame Urangan, a racialized Hervey Bay. person In the—not 1970s, from my my parents family, faced but much by others—when discrimination I enteredand, at onethe school point, weregates forcedat Urangan, to move Hervey to Mt. Bay. Isa In to the escape 1970s, the my pressures parents faced of race much hatred discrimination because of and,their at mixed one point, marriage. were By forced then, to I wasmove in to third Mt. grade.Isa to escape At the the time, pressures I did not of know race hatred I was destinedbecause toof theirbe an mixed artist, marriage. but my art By practice then, I was has sustainedin third grade. me for At thethe pasttime, 35 I did years. not Inknow 1986, I was while destined studying to be in anthe artist, sculpture but my department art practice at Sydneyhas sustained College me of for the the Arts, past I created35 years. a sculptureIn 1986, while based studying on a story in mythe sculpturemother, Shirley department Foley, at told Sydney me about College a massacreof the Arts on, I mycreated country a sculpture along thebased Susan on a River.story my Many mother, oral histories of genocide are carried, in living memory, by Aboriginal people. That image stayed with me of Badtjala people being maimed, killed, or ﬂeeing on foot. It was a powerful history to carry and to make of it—something. The sculpture I created back as a 22-year-old art student was titled Annihilation Genealogy 2020, 4, x FOR PEER REVIEW 5 of 16

Shirley Foley, told me about a massacre on my country along the Susan River. Many oral histories of genocide are carried, in living memory, by Aboriginal people. That image stayed with me of Badtjala Genealogypeople being2020, 4 ,maimed, 74 killed, or fleeing on foot. It was a powerful history to carry and to make of5 ofit— 15 something. The sculpture I created back as a 22-year-old art student was titled Annihilation of the ofBlacks the Blacks and wasand wasbought bought by the by theNational National Museum Museum of ofAustralia—one Australia—one of of the the museum’s museum’s “first “ﬁrst major acquisitions of a city-based Aboriginal artist” ((QuailQuail 20002000).). See Figure5 5..

Figure 5. Fiona Foley’s Annihilation of the Blacks (1986). Permanent Permanent collection of the National Museum of Australia, Canberra. Image reproduced courtesy of the artist.

Aboriginal art art and and politics politics have have had had an anuneasy uneasy rela relationshiptionship in this in country. this country. Years Yearsafter the after initial the initialpurchase, purchase, AnnihilationAnnihilation of the Blacks of the Blackscourtedcourted controversy controversy from the from John the Howard John Howard government government in the inearly the 2000s early and 2000s played and playeda role in a the role History in the HistoryWars unfolding Wars unfolding nationally nationally (Smith 2001, (Smith p. 657).2001 ,In p. 2003, 657). Inthe 2003, National the Museum National of Museum Australia of produced Australia “Contested produced “ContestedFrontiers,” an Frontiers,” exhibition an with exhibition a companion with abook companion that reconsidered book that reconsideredthe primacy theof frontier primacy vi ofolence frontier and violence the impact and theof impactgenerations of generations of forced ofseparations, forced separations, known as knownthe “stolen as the generations,” “stolen generations,” of Aboriginal of Aboriginal children from children their fromparents their (Attwood parents (andAttwood Foster and 2003). Foster After 2003 conservative). After conservative commentators commentators protested the protested exhibition, the exhibition, the museum the board museum did boardnot renew did notdirector, renew Dawn director, Casey’s Dawn contract, Casey’s which contract, signalled, which to signaled, both artists to both and artistscurators, and a curators,wave of acensorship wave of censorship in public institutions in public institutions (Casey 2003). (Casey 2003). “Contested Frontiers” challenged a statement that I have often heard from white Australians: “Australia“Australia was settled settled peacefully”. peacefully”. In In fact, fact, we we were were not notpassive passive in the in takeover the takeover of our ofcountry. our country. Every Everyinch ofinch Queensland of Queensland soil has soilbeen has fought been over fought andover bloodied. and bloodied.This history This of historyQueensland of Queensland is not taught is notin schools taught or in universities. schools or universities. It is a history It I ishave a history pieced I together have pieced through together reading through books reading since the books age sinceof 24. I the wanted age of to 24. learn I wanted more about to learn the attitudes more about held the by colonial attitudes men held and by women, colonial and men the and Aboriginal women, andpeople the Aboriginalwho repeatedly people attacked who repeatedly their invaders attacked theirwith invadersstrategic withguerrilla strategic wars. guerrilla In 2008, wars. I created In 2008, IDispersed created Dispersedwith 303”with calibre 303” blank calibre bullets blank after bullets reading after historians reading historians such as Henry such asReynolds, Henry Reynolds, Rosalind RosalindKidd, Tony Kidd, Roberts, Tony Raymond Roberts, RaymondEvans, and Evans, Jonathan and Richards, Jonathan (Reynolds Richards, 1981; (Reynolds Kidd 1997; 1981 ;Evans Kidd 1999;1997; Evans 1999et al.; 1975;Evans Roberts et al. 1975 2005;; Roberts Richards 2005 2008).; Richards See Figure 2008). 6. See Figure6. Australia carries deep wounds from the trauma of the wars fought against our people. After massacres, Aboriginal people were not allowed to bury our dead (Rowley 1970). We carry it inside our souls whether we are conscious of them or not. The brutality, in turn, has also aﬀected the perpetrators and their descendants. Many Aboriginal people carry deep psychological scars from what Judy Atkinson terms “intergenerational trauma” (Atkinson 2002). As Alexis Wright argues in Meanjin, “the physical control and psychological invasion of Aboriginal people has continued as it began, from the racist stories told about Aboriginal people from the beginning of colonization two centuries ago” (Wright 2016). Racism continues to be a societal burden I’ve learned to carry—that gaze wrapped up in judgment from a white society and white individuals. For me, it manifests itself in everyday educational environments, including in my present-day status as an academic. Genealogy 2020, 4, 74 6 of 15 Genealogy 2020, 4, x FOR PEER REVIEW 6 of 16

FigureFigure 6.6. FionaFiona Foley’s Dispersed (2008).(2008). Charred Charred laminated laminated wood, wood, polished polished aluminum, aluminum, 303” 303” calibre calibre bulletsbullets (blank).(blank). Each letter letter 51 51 cm cm high high × 2525 cm cm wide. wide. Entire Entire sculpture sculpture is 500 is 500 cmcm wide. wide. Permanent Permanent × collectioncollection ofof thethe National Gallery Gallery of of Australi Australia,a, Canberra. Canberra. Image Image courtesy courtesy of the of theartist. artist.

3. VisitingAustralia Boni carries deep wounds from the trauma of the wars fought against our people. After massacres, Aboriginal people were not allowed to bury our dead (Rowley 1970). We carry it inside In 2011, I was contacted by Daniel Browning, the host of the AWAYE!—a program on ABC Radio our souls whether we are conscious of them or not. The brutality, in turn, has also affected the National dedicated to Aboriginal arts and culture—to go to Lyon, France with him to view a life size perpetrators and their descendants. Many Aboriginal people carry deep psychological scars from plasterwhat Judy cast Atkinson of a Fraser terms Island “intergenerational man whose name trau wasma” Boni(Atkinson (also known2002). As as Alexis Bonangera Wright or argues Benanyora). in HistoricalMeanjin, “the research physical on Boni control and and his psychological two other companions, invasion of Durono Aboriginal (also people referred has to continued as Jurano, as Turano it orbegan, Alfred) from and the Borondera racist stories (Dorondera told about or Aborigin Suzanne),al people would from form the beginning basis of a radioof colonization program entitledtwo Castcenturies Among ago” Strangers (Wright. This 2016). was Racism a very continues unusual request.to be a societal I said yesburden due toI’ve the learned fact that to imagescarry—that of Boni thatgaze Daniel wrapped sent up to mein judgment looked very from much a white like society my great-great-grandfather, and white individuals. Willy For me, Wondunna, it manifests also itself known asin Caboonya. everyday educational The familial environments, resemblance including was astounding. in my present-day In a black status and as white an academic. image, I had come to know of Caboonya as a young man he is wearing a head-dress of two seagull feathers, a band around his3. Visiting forehead Boni of kangaroo teeth and a necklace of kangaroo teeth. See Figure7. InIn this2011, image, I was contacted Caboonya’s by Dani facialel Browning, features also the resemblehost of the my AWAYE!—a brother’s, program Shawn Foley.on ABC Over Radio three generations,National dedicated there is to a genealogicalAboriginal arts trace and of culture—to blood ties. go The to Lyon, question France was with how him did to Boni’s view fulla life body size cast inplaster plaster cast come of a toFraser be in Island the collection man whose of the name Mus wasée desBoni Confluences? (also known as See Bonangera Figure8. or Benanyora). HistoricalIt is anresearch intriguing on Boni story and his with two manyother compan questionsions, and Durono few (also answers. referred In to1883, as Jurano, Boni, Turano Durono, andor Alfred) Borondera and wereBorondera at the (Dorondera Dresden Zoo or inSuzanne), Germany would as part form of the human basis circuses of a radio traveling program for entitled European audiencesCast Among who Strangers paid to. This see thewas “Missing a very unusual Link,” request. “Cannibal I said King,” yes due and to other the fact tropes that of images Western of scientificBoni racismthat Daniel (Rothfels sent 2002to me; Poignant looked very 2004 much; Foley like 2011 my). great-great-grandfather, They performed acts like Willy throwing Wondunna, boomerangs also orknown climbing as Caboonya. large poles The with familial bare feetresemblance and hands. was Inastounding. London,I In met a black with and Roslyn white Poignant, image, I who had has writtencome to extensively know of Caboonya on Palm Islandas a young Aboriginals man he sent is wearing from Australia a head-dress to America of two andseagull Europe feathers, and askeda herband what around happened his forehead to Durono of kangaroo and Borondera. teeth and Theira necklace last placeof kangaroo of archival teeth. recording See Figure was 7. in Dresden. Roslyn suggested that most likely influenza was the source of their deaths. Boni travelled on with others to France in those touring carnivalesque shows. Cast in a position ready to throw a boomerang, he carried tribal cicatrices both on his front and high on his buttocks and hips. I viewed Boni with all sorts of emotions. However, what I will take away with me is that he looked strong, handsome and intelligent.

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Figure 7. FionaFiona Foley’s Foley’s artwork artwork from her 1988 series Survival includesincludes a a photograph photograph of of her her great-great great-great grandfather, WillyWilly Wondunna, Wondunna, also also known known as Caboonya, as Caboonya, and aand shell a middenshell midden on K’gari. on ImageK’gari. courtesy Image ofcourtesy Fiona Foley.of Fiona Foley.

In this image, Caboonya’s facial features also resemble my brother’s, Shawn Foley. Over three generations, there is a genealogical trace of blood ties. The question was how did Boni’s full body cast in plaster come to be in the collection of the Musée des Confluences? See Figure 8.

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Figure 8. Full body cast ofof BoniBoni atat thethe MusMuséeée des des Conﬂuences Confluences in in Lyon, Lyon, France. France Photograph. Photograph courtesy courtesy of ofFiona Fiona Foley. Foley.

It isis dianffi intriguingcult to know story where with Boni many fits questions into thelarger and few Badtjala answers. story In apart 1883, from Boni, his Durono, existence and in BoronderaLyon. He waswere of at a the diff Dresdenerent generation Zoo in Germany than Caboonya, as part of but human their timecircuses periods traveling overlap. for European My great audiencesgreat-grandfather, who paid Willy to Wondunna,see the “Missing was initiated Link,” in“Cannibal 1865. He King,” married and an Aboriginalother tropes woman of Western whose scientificname is Eulie racism (Marion) (Rothfels and they2002;had Poignant one son, 2004; Frederick Foley Wondunna.2011). They In performed 1942, he obtained acts like a Certificatethrowing boomerangsof Exemption or from climbing the Aborigines large poles Welfarewith bare Board, feet and which hands. allowed In London, him to I met live with outside Roslyn of the Poignant, laws of Thewho Act hasand written regulations extensivel untily heon passedPalm Island away Aboriginals at 98 years old. sent His from influence Australia continued to America after and his deathEurope as andhe was asked key her in ourwhat two happened Native Title to Durono claims withand Borondera. the Federal CourtTheir last of Australia place of archival in 2014 and recording 2019 as was our inapical Dresden. ancestor Roslyn whom suggested we are allthat descended. most likely My influenza extended was family the source and I of just their called deaths. him Boni Great. travelled on withDuring others Great’s to France life hein observedthose touring “rapid carnival culturalesque change” shows. in Cast the in Wide a position Bay region—some ready to throw of ita boomerang,unfathomable he to carried him (Loos tribal 2017 cicatrices, pp. 160–61). both on Onehis front of those and changes high on washis buttocks an attitudinal and hips. shift I inviewed white Bonisettlers with toward all sorts Aboriginal of emotions. people, However, which waswhat tied I wi toll economic take away rationalization with me is that to he “let looked the blacks strong, in” handsomeinstead of huntingand intelligent. them from townships, cattle stations, and districts as had been their practice during the decadesIt is difficult of open to frontierknow where warfare Boni (2017, fits into p. 161). the Also,larger taking Badtjala place story at thisapart time from were his inducements existence in Lyon.to trap He Aboriginal was of a different workers generation into a life than of degradation Caboonya, but and their servitude. time periods Following overlap. the My end great of brutalgreat- grandfather,frontier violence, Willy the Wondunna, use of “opium was ash”initiated or “opium in 1865. dross” He married as payment an Aboriginal for Aboriginal woman workers whose created name isa profoundEulie (Marion) cultural and schism. they had The one complete son, Frederick halt of ceremonial Wondunna. practices In 1942, was he oneobtained of the a outcomes. Certificate of Exemption from the Aborigines Welfare Board, which allowed him to live outside of the laws of The Act4. Opium and regulations until he passed away at 98 years old. His influence continued after his death as he wasThere key isin aour long two history Native of Title opium claims use with in Queensland, the Federal and Court up of until Australia 1897, itin was 2014 legal and because2019 as our the apicaleconomics ancestor were whom lucrative. we are In addition all descended. to the moneyMy extended made for family its importers, and I just the called issuing him ofGreat. government licences,During white Great’s license life holders, he observed Chinese “rapid license cultural holders, change” and established in the Wide opium Bay region—some dens in the region, of it unfathomableQueensland colonialists to him (Loos introduced 2017, pp. 160–61). to Aboriginal One ofgroups those changes to addict was them an attitudinal as a free shift labour in white force. settlersSee Figure toward9. Aboriginal people, which was tied to economic rationalization to “let the blacks in” instead of hunting them from townships, cattle stations, and districts as had been their practice during the decades of open frontier warfare (2017, p. 161). Also, taking place at this time were inducements to trap Aboriginal workers into a life of degradation and servitude. Following the end

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of brutal frontier violence, the use of “opium ash” or “opium dross” as payment for Aboriginal workers created a profound cultural schism. The complete halt of ceremonial practices was one of the outcomes.

4. Opium There is a long history of opium use in Queensland, and up until 1897, it was legal because the economics were lucrative. In addition to the money made for its importers, the issuing of government licences, white license holders, Chinese license holders, and established opium dens in the region, GenealogyQueensland2020, 4, 74 colonialists introduced to Aboriginal groups to addict them as a free labour force. See9 of 15 Figure 9.

FigureFigure 9. Fiona 9. Fiona Foley’s Foley’sOpiate Opiate of of Opulence Opulencefrom from herher series HorrorHorror Has Has A AFace Face, #9, #9(2017) (2017) Fujiflex Fujiflex Digital Digital PrintPrint Edition Edition 15. 4515. 4580 × 80 cm. cm. Image Image courtesy courtesy th thee artist artist and and Andrew Andrew Baker Baker Art Art Dealer, Dealer, Brisbane. Brisbane. × OnlyOnly when whenThe The Aboriginals Aboriginals Protection Protection andand RestrictionRestriction of of the the Sale Sale of ofOpium Opium Act Act waswas introduced introduced did did a regime of control, segregation, removals and harsh penalties come into force for all Aboriginal a regime of control, segregation, removals and harsh penalties come into force for all Aboriginal populations across Queensland (Foley 2020). To stamp out opium use by Aboriginals, the first populations across Queensland (Foley 2020). To stamp out opium use by Aboriginals, the first experiment under Archibald Meston, the Southern Protector of Aboriginals, was established—an experimentAboriginal under Mission Archibald on the western Meston, side the of K’gari Southern at White Protector Cliffs that of Aboriginals,was later relocated was to established—an Bogimbah AboriginalCreek (Foley Mission 2020). on theSee Figure western 10. side of K’gari at White Cliffs that was later relocated to Bogimbah Creek (Foley 2020). See Figure 10. Genealogy 2020, 4, x FOR PEER REVIEW 10 of 16

FigureFigure 10. 10.Fiona Fiona Foley’s Foley’sMissionary Missionary ZealZeal fromfrom her series HorrorHorror Has Has a aFace Face, #17, #17 (2017) (2017) Fujiflex Fujiﬂex Digital Digital Print.Print. Edition Edition 15. 15. 45 45 ×80 80 cm.cm. InIn thisthis photograph,photograph, Foley Foley recreates recreates a afuneral funeral at at the the Bogimbah Bogimbah Mission Mission × onon K’gari, K’gari, which which was was run run by by Reverend Reverend ErnestErnest GribbleGribble from 1900- 1900-1904.1904. The The Mission Mission was was closed closed and and BadtjalaBadtjala people people were were forced forced to to leaveleave thethe island.island. The The location location of of the the site site was was lost lost to tomemory, memory, but but in in 2014,2014, with with the the help help of of Badtjala Badtjala rangers rangers onon K’gari,K’gari, the original settlement settlement was was located, located, along along with with 70 70 AboriginalAboriginal graves graves (Atkinson (Atkinson 2014 2014).). ImageImage courtesycourtesy the the artist artist and and An Andrewdrew Baker Baker Art Art Dealer, Dealer, Brisbane. Brisbane.

When I first heard of this act, I was initially intrigued by the two words “Aboriginals” and “opium” in the same title. Only through reading did I find out how draconian the laws were. The Act contained 33 clauses governing Aboriginal lives with its tentacles reaching into my traditional country and the lives of 51 Badtjala people living in Maryborough who were forcibly removed to the mission on K’gari under Archibald Meston’s direction. My great-grandfather Fred Wondunna, and grandfather Horace Wondunna, did not come under The Act due to Clause Ten: 10. Every aboriginal who is— (a) Lawfully employed by any person under the provisions of this Act or the Regulations, or under any other law in force in Queensland; (b) The holder of a permit to be absent from a reserve; or (c) A female lawfully married to, and residing with, a husband who is not himself an aboriginal; (d) Or for whom in the opinion of the Minister satisfactory provision is otherwise made; shall be excepted from the provisions of the last preceding section. My paternal family’s employment in the fishing and timber industry on K’gari saved them from mission life.

Genealogy 2020, 4, 74 10 of 15

When I ﬁrst heard of this act, I was initially intrigued by the two words “Aboriginals” and “opium” in the same title. Only through reading did I ﬁnd out how draconian the laws were. The Act contained 33 clauses governing Aboriginal lives with its tentacles reaching into my traditional country and the lives of 51 Badtjala people living in Maryborough who were forcibly removed to the mission on K’gari under Archibald Meston’s direction. My great-grandfather Fred Wondunna, and grandfather Horace Wondunna, did not come under The Act due to Clause Ten: 10. Every aboriginal who is—

(a) Lawfully employed by any person under the provisions of this Act or the Regulations, or under any other law in force in Queensland; (b) The holder of a permit to be absent from a reserve; or (c) A female lawfully married to, and residing with, a husband who is not himself an aboriginal; (d) Or for whom in the opinion of the Minister satisfactory provision is otherwise made;

shall be excepted from the provisions of the last preceding section. My paternal family’s employment in the ﬁshing and timber industry on K’gari saved them from mission life.

5. The Wondunna Clan At the beginning of the 20th century, my great-grandfather, Fred Wondunna, mostly lived on K’gari as a timber getter. On the island, he met Ethel Marion Reeves, the sister of the Rev. Ernest Gribble, who ran the Bogimbah Creek Mission. Fred was a rule breaker. Marriage to a white woman was not permitted in Queensland under The Act, so they crossed state lines. Already widowed, with one child from her former marriage, Ethel wed Fred in Sydney on 30 December 1907. They came back to live on Genealogy 2020, 4, x FOR PEER REVIEW 11 of 16 the island at Wondunna’s Camp—away from prying eyes for her and steady employment for him. TheyAt had some ﬁve point, children: Fred Horace, left the Constance, marriage to Wilfred, live independently Nowell and Olga. away from the family. I believe it was dueAt some to having point, a Fred broken left theheart. marriage For over to live14 years, independently he lived in away Lismore, from theNew family. South I believeWales where it was hedue dived to having and worked a broken deep heart. sea For oyster over beds. 14 years, In a black he lived and in white Lismore, photograph, New South there Wales is a wherestriking he image dived ofand his worked masculinity deep seaon Kirra oyster Beach. beds. He In ais blackfilling and bottles white of photograph,coloured sand there with is designs a striking of imageships on of the his insidemasculinity of theon glass. Kirra The Beach. sign reads, He is ﬁlling “Wondunna, bottles of The coloured Australian sand Aborigine, with designs Sand of ships Artist on atthe Work.” inside See of Figurethe glass. 11. The sign reads, “Wondunna, The Australian Aborigine, Sand Artist at Work.” See Figure 11.

Figure 11. Fred Wondunna at Kirra BeachBeach on thethe GoldGold CoastCoast ofof southernsouthern Queensland.Queensland. Photograph courtesy of Fiona Foley.

Fred returned to Maryborough towards the end of his life and passed away aged 70 on the 21 February 1956. Two of his children—my great uncle Wilfie and great aunty Olga—worked together writing and illustrating a children’s book, The Legends of Moonie Jarl (Reeves and Miller 1964). I grew up pouring over the illustrations of my family’s book. I never saw anything like it in other places. It was a treasured cultural object in our house that is now acknowledged as, “the very first Indigenous children’s book authored by Aboriginal people” (Miller 2016). See Figure 12a. It was also the start of the Wondunna clan’s contribution to Badtjala cultural life through publications. In 2014, The Legends of Moonie Jarl was re-published for its 50th anniversary by the Indigenous Literacy Foundation. My cousin Glen Miller (Aunty Olga’s son) gave a speech at the University of Southern Queensland, Hervey Bay and many in the local community gathered for this joyous event (2016). Uncle Wilfie and Aunty Olga’s achievements were outstanding milestones for their time. Their brother Horace was also a high achiever in commerce. I never met my grandfather, Horace Wondunna, because he died at sea under mysterious circumstances, along with two other crew members (Charlie Warner and Sam Kanupan), at the young age of 31. His body was never found. That fateful fishing trip would have been the last payment on his commercial fishing boat. Horace Wondunna and Sammy Kanupan are remembered on the plaque along with others, In Memory of Fishermen Lost at Sea, Urangan. See Figure 12b.

Genealogy 2020, 4, 74 11 of 15

Fred returned to Maryborough towards the end of his life and passed away aged 70 on the 21 February 1956. Two of his children—my great uncle Wilﬁe and great aunty Olga—worked together writing and illustrating a children’s book, The Legends of Moonie Jarl (Reeves and Miller 1964). I grew up pouring over the illustrations of my family’s book. I never saw anything like it in other places. It was a treasured cultural object in our house that is now acknowledged as, “the very ﬁrst Indigenous children’s book authored by Aboriginal people” (Miller 2016). See Figure 12a. It was also the start of the Wondunna clan’s contribution to Badtjala cultural life through publications. In 2014, The Legends of Moonie Jarl was re-published for its 50th anniversary by the Indigenous Literacy Foundation. My cousin Glen Miller (Aunty Olga’s son) gave a speech at the University of Southern Queensland, Hervey Bay Genealogyand many 2020 in, 4 the, x FOR local PEER community REVIEW gathered for this joyous event (2016). 12 of 16

(a) (b)

Figure 12. ((aa)) Olga Olga Miller Miller and and Wilf Wilf Reeves. Reeves. Photograph Photograph courtesy courtesy of ofFiona Fiona Foley; Foley; (b) ( bThe) The memorial, memorial, In MemoryIn Memory of Fishermen of Fishermen Lost Lost at atSea, Sea, Urangan, Urangan, whichwhich commemorates commemorates lives lives lost lost at at sea sea in in Hervey Hervey Bay, Bay, includes the name of Fiona’s grandfather, HoraceHorace Wondunna.Wondunna. PhotographPhotograph courtesycourtesy ofof FionaFiona Foley.Foley.

ThisUncle tragedy Wilfie set and in Aunty train a Olga’s momentous achievements change for were the outstandinglives of his wife milestones Alma, forand theirtheir time.four Theirchildren: brother Noela, Horace Coygne, was Horace, also a and high my achiever mother, in Shir commerce.ley. My mother, I never the met youngest my grandfather, of the four, Horace grew Wondunna,up never knowing because her he father. died atYet sea she, under too, mysteriouswould inherit circumstances, a decisive strength along with of character two other and crew an independentmembers (Charlie way of Warner viewing and the Sam world. Kanupan), at the young age of 31. His body was never found. That fateful fishing trip would have been the last payment on his commercial fishing boat. Horace Wondunna6. Legacies and Sammy Kanupan are remembered on the plaque along with others, In Memory of Fishermen Lost at Sea, Urangan. See Figure 12b. In 1986, a headline read, “Fraser Island Lease Sought” accompanied by an image of my mother, This tragedy set in train a momentous change for the lives of his wife Alma, and their four children: Shirley Foley, teaching Aboriginal culture at Hervey Bay College (Hervey Bay-Fraser Island Sun 1986, Noela, Coygne, Horace, and my mother, Shirley. My mother, the youngest of the four, grew up never p. 5). A community leader, she understood how to involve political figures and key advocates to knowing her father. Yet she, too, would inherit a decisive strength of character and an independent support visionary, large-scale projects. At this early stage, the project’s working title was “Hervey way of viewing the world. Bay Aboriginal Education and Culture Centre,” and would later be recognized as Thoorgine Education6. Legacies and Culture Centre. Mum’s dream, and one that my family also lived and breathed alongside her, was to get land back Inon 1986, K’gari. a headlineThe Chronicle read, article “Fraser stated Island an Lease Aboriginal Sought” group accompanied had applied by anfor image a six-hectare of my mother, parcel ofShirley land Foley,teaching on the island. Aboriginal The local culture mayor, at Hervey Ald. Judy Bay College Rice, politician(Hervey Bay-Fraser Bob Katter, Island and Sun Queensland 1986, p. 5). AUniversity community anthropologist leader, she understood Dr. Peter Laurer how to fully involve supported political the figures venture. and key On advocates 1 January to 1990, support 6.5 visionary,hectares of large-scaleland adjacent projects. to the AtWorali this Track early were stage, dedicated the project’s to the working Badtjala titlepeople was as “Hervey part of a Bay20- year, Queensland Special Lease. Mum was a visionary and ahead of her time, but if important legacies are not talked about and celebrated, they can quickly be overlooked. Mum’s passions in life were many—from the retrieval of Badtjala language to cultural exchanges with other Aboriginal people from Maningrida (Arnhem Land), the Mutujulu community (Uluru) and Palawa women weavers (Tasmania). Over the years, she also hosted large workshops at Thoorgine and other places on the island with the assistance of Queensland Parks and Wildlife Service whom she had built a great relationship with. Mum passed away in 2000 aged 62 while she was still active in the community. She was an adopted elder at Urangan Point Primary School and set up two scholarships with the local university: the “Horace Wondunna Scholarship” (named after her father) and the “Wondunna Scholarship” (named after our clan). Looking back over the past 20 years, it now seems to me how communities can easily lose sight of contributions of previous generations if their work isn’t celebrated and brought into discussions of contemporary activism.

Genealogy 2020, 4, 74 12 of 15

Aboriginal Education and Culture Centre,” and would later be recognized as Thoorgine Education and Culture Centre. Mum’s dream, and one that my family also lived and breathed alongside her, was to get land back on K’gari. The Chronicle article stated an Aboriginal group had applied for a six-hectare parcel of land on the island. The local mayor, Ald. Judy Rice, politician Bob Katter, and Queensland University anthropologist Dr. Peter Laurer fully supported the venture. On 1 January 1990, 6.5 hectares of land adjacent to the Worali Track were dedicated to the Badtjala people as part of a 20-year, Queensland Special Lease. Mum was a visionary and ahead of her time, but if important legacies are not talked about and celebrated, they can quickly be overlooked. Mum’s passions in life were many—from the retrieval of Badtjala language to cultural exchanges with other Aboriginal people from Maningrida (Arnhem Land), the Mutujulu community (Uluru) and Palawa women weavers (Tasmania). Over the years, she also hosted large workshops at Thoorgine and other places on the island with the assistance of Queensland Parks and Wildlife Service whom she had built a great relationship with. Mum passed away in 2000 aged 62 while she was still active in the community. She was an adopted elder at Urangan Point Primary School and set up two scholarships with the local university: the “Horace Wondunna Scholarship” (named after her father) and the “Wondunna Scholarship” (named after our clan). Looking back over the past 20 years, it now seems to me how communities can easily lose sight of contributions of previous generations if their work isn’t celebrated and brought into discussions of contemporary activism. In preparation for the International Year of Indigenous Languages in 2019, I returned to Mum’s work in the area of Badtjala language retrieval and maintenance. Over many years, one of her outstanding legacies was the out of print, Badtjala–English English–Badtjala Word List. A comprehensive gathering of Badtjala words structured into subheadings and categories, it was first published in 1996. This level of scholarship would be worthy of a PhD in the academy, but Mum only attained a grade 6 education due to being raised by a single parent in poverty. The Wondunna Aboriginal Corporation and Pirri Productions republished Mum’s Badtjala Dictionary in 2018, and again in 2019. Her dictionary is extremely important because we do not speak our language fluently anymore. By the time I was born all my old people only spoke Badtjala words. Piecing the word list together was a twenty-year labour of love for my mother. She researched archives in libraries and museums to find colonial journals and notations such as Curr, Meston, Howitt, Armitage, Winterbottom and Watson. Mum also became involved with the Aboriginal language movement in Queensland. She ran Zone 2 of the Language Program in Central Queensland, travelling vast distances to fund local organizations and individuals working on their own language maintenance and survival, and also attending conferences in Brisbane. When she was not travelling, Mum would make her own flash cards and go into primary schools in Hervey Bay to teach children Badtjala words. In her eulogy, written by my brother Rowan Foley, he reflects, “Shirley spent her life working as a tireless community worker devoted to her family, culture and traditional country” (Foley 2000). See Figure 13. In 2019, The International Year of Indigenous Languages I had the opportunity to bring my mother’s work back to life again through the re-publication of her dictionary and a new film. I secured a grant from the Australian Government—Indigenous Languages and Arts Program which allowed me to create big. I directed a short film titled Out of the Sea Like Cloud. The film was set over two locations on K’gari at Takky Wooroo and a historical derelict building on Wharf Street, Maryborough where I created, with set designer Scott Harrower, a luxurious and textured opium den. This location was historically accurate when Maryborough was a thriving port city for the import of opium situated on the Mary River. Two historical timelines are presented in the film from 1770 and 1897. The song features the English translation and re-presents new verses in our Badtjala language for the first time regarding the Endeavour encounter. We were able to access the Endeavour replica owned by the Maritime Museum in Sydney for authenticity. The production was an epic feat filming at Indian Head racing against king tides and a full moon. Genealogy 2020, 4, x FOR PEER REVIEW 13 of 16

In preparation for the International Year of Indigenous Languages in 2019, I returned to Mum’s work in the area of Badtjala language retrieval and maintenance. Over many years, one of her outstanding legacies was the out of print, Badtjala─English English─Badtjala Word List. A comprehensive gathering of Badtjala words structured into subheadings and categories, it was first published in 1996. This level of scholarship would be worthy of a PhD in the academy, but Mum only attained a grade 6 education due to being raised by a single parent in poverty. The Wondunna Aboriginal Corporation and Pirri Productions republished Mum’s Badtjala Dictionary in 2018, and again in 2019. Her dictionary is extremely important because we do not speak our language fluently anymore. By the time I was born all my old people only spoke Badtjala words. Piecing the word list together wasGenealogy a twenty-year2020, 4, 74 labour of love for my mother. She researched archives in libraries and museums13 of 15 to find colonial journals and notations such as Curr, Meston, Howitt, Armitage, Winterbottom and Watson. Mum also became involved with the Aboriginal language movement in Queensland. She ran ZoneI commissioned 2 of the Language Teila Watson, Program also in known Central as Ancestress,Queensland, to travelling write and vast record distances a new song to fund using local the organizationsBadtjala Dictionary. and individuals I first saw working her perform on their one nightown language in 2013 in maintenance front of my sculpture, and survival,Witnessing and also to attendingSilence, on conferences Roma Street in with Brisbane. the Brisbane When Magistrates she was not Court travelling, as the backdrop. Mum would She make was singing her own her flash own cardssong titled,and goOne into by primary One. The schools sculpture in identifiesHervey Bay 94 massacreto teach children sites on the Badtjala public words. record inIn Queensland.her eulogy, writtenTeila’s lyrics by my were brother equally Rowan as powerful Foley, and he haunting. reflects, I“Shirley made a promisespent her to myselflife working that I would as a onetireless day communitylike to work worker with her. devoted That memory to her stayedfamily, withculture me an ford years. traditional In 2019, country” I asked (Foley Teila to 2000). use the See work Figure my 13.mother had put together to create a song for the film.

Figure 13. TheThe fourth fourth edition edition of of BadtjalaBadtjala–English─English/English/English–Badtjala─Badtjala Word List , produced by Pirri Productions. First published 1 1996,996, Fiona Foley designed the artwork on this 2019 edition. Front Cover: Cover: Fiona Foley’s Mangrove Pod (2000). Oil Oil on on linen. BackBack cover: FionaFiona Foley’s Foley’s TheThe Oyster Oyster Fisherman #1 #1,, (2011) Ultrachrome print onon paper.paper. Images courtesy ofof thethe artist.artist.

InOur 2019, collaboration The International was no easy Year feat. of Indigenous Teila had to teachLanguages herself I ourhad language the opportunity from the to pages bring of my the mother’sBadtjala Dictionary.work back to We life were again living through in two the re-publication different locations of her in dictionary Queensland—I and a new was film. on country I secured in aHervey grant from Bay andthe TeilaAustralian was in Government—Indigenous Brisbane. I posted Teila one Languages of the newly and printed Arts Program dictionaries which and allowed asked meher to startcreate the big. song I directed construction a short from film scratch. titled IOut left of all the of thoseSea Like choices Cloud up. The to her. film When was set I travelled over two to locationsBrisbane andon K’gari Teila at first Takky sang Wooroo the song and to me,a historic I hadal tears derelict rolling building down on my Wharf cheeks. Street, Our Maryborough language had wherebeen sleeping I created, for with many set yearsdesigner and Scott was Harrower, awoken. It a was luxurious the first and time textured the full opium weight den. of myThis mother’s location workwas historically had been activated accurate inwhen such Maryborough a space. I got towas witness a thriving all of port her hardcity workfor the through import Teila’s of opium solo situatedrendition. on In theOut Mary of the River. Sea Like Two Cloud historical, Teila playstimelines the characterare presented named in Spiritthe film Woman. from 1770 The otherand 1897. lead actor is Joe Gala, who keeps the film moving along through his various antics and realizations. I call the film genre I embarked upon magical realism. The cast comprised of eleven non-actors from the region. See Figure 14a,b. On 14 December 2019, we premiered Out of the Sea Like Cloud at the Queensland Art Gallery of Modern Art, Brisbane. For decades, I watched my mother fight for land, recognition of Badtjala people in the broader Australian society, and the right to economic independence from the state government. I learnt many things from her and had a close relationship with her. Shirley Foley was a powerhouse of determination in promoting Badtjala culture wherever she went. Last year, Mum’s research underpinned my research. Our lives came together through making Out of the Sea Like Cloud. She continues to live on in my work—that’s what strong cultural leaders do. Over the years I’ve often been told I am courageous. However, I see it more in terms of having a deep sense of justice. Genealogy 2020, 4, x FOR PEER REVIEW 14 of 16

The song features the English translation and re-presents new verses in our Badtjala language for the first time regarding the Endeavour encounter. We were able to access the Endeavour replica owned by the Maritime Museum in Sydney for authenticity. The production was an epic feat filming at Indian Head racing against king tides and a full moon. I commissioned Teila Watson, also known as Ancestress, to write and record a new song using the Badtjala Dictionary. I first saw her perform one night in 2013 in front of my sculpture, Witnessing to Silence, on Roma Street with the Brisbane Magistrates Court as the backdrop. She was singing her own song titled, One by One. The sculpture identifies 94 massacre sites on the public record in Queensland. Teila’s lyrics were equally as powerful and haunting. I made a promise to myself that I would one day like to work with her. That memory stayed with me for years. In 2019, I asked Teila to use the work my mother had put together to create a song for the film. Our collaboration was no easy feat. Teila had to teach herself our language from the pages of the Badtjala Dictionary. We were living in two different locations in Queensland—I was on country in Hervey Bay and Teila was in Brisbane. I posted Teila one of the newly printed dictionaries and asked her to start the song construction from scratch. I left all of those choices up to her. When I travelled to Brisbane and Teila first sang the song to me, I had tears rolling down my cheeks. Our language had been sleeping for many years and was awoken. It was the first time the full weight of my mother’s work had been activated in such a space. I got to witness all of her hard work through Teila’s solo Genealogy 2020, 4, 74 14 of 15 rendition. In Out of the Sea Like Cloud, Teila plays the character named Spirit Woman. The other lead actor is Joe Gala, who keeps the film moving along through his various antics and realizations. I call Growingthe film upgenre not I knowing embarked the upon historical magical truths realism. of Australia’s The cast beginningscomprised ledof eleven to an internal non-actors call tofrom want the toregion. know more.See Figure 14a,b.

(a) (b)

FigureFigure 14. 14.(a ()a Teila) Teila Watson, Watson, also also known known as Ancestress, as Ancestress, on location on location on K’gari on K’gari for Out for of Out the Sea of Likethe Sea Cloud. Like PhotographCloud. Photograph by Fiona by Foley; Fiona ( bFoley;) Joe Gala,(b) Joe one Gala, of theone lead of the actors lead inactors the ﬁlm, in the who film, plays who a plays Badtjala a Badtjala man whoman holds who onto holds their onto song their about songThe about Endeavour The Endeavourpassing by passing K’gari inby1770. K’gari Here in 1770. he is shotHere on he location is shot aton anlocation opium at den an created opium byden Scott created Harrower by Scott and Harrowe Fiona Foley.r and Fiona Photograph Foley. byPhotograph Fiona Foley. by Fiona Foley.

Funding:On This14 December article received 2019, no we external premiered funding. Out of the Sea Like Cloud at the Queensland Art Gallery of ConflictsModern of Art, Interest: Brisbane.The author For decades, declares no I conflictwatched of interest.my mother fight for land, recognition of Badtjala people in the broader Australian society, and the right to economic independence from the state Referencesgovernment. I learnt many things from her and had a close relationship with her. Shirley Foley was a powerhouse of determination in promoting Badtjala culture wherever she went. Last year, Mum’s Atkinson, Judy. 2002. Trauma Trails: Recreating Song Lines: The Transgenerational Effects of Trauma in Indigenous research underpinned my research. Our lives came together through making Out of the Sea Like Cloud. Australia. North Melbourne: Spinifex. She continues to live on in my work—that’s what strong cultural leaders do. Over the years I’ve often Atkinson, Bruce. 2014. Queensland Scientists Discover 70 Aboriginal Graves on Fraser Island Lost for More Than been told I am courageous. However, I see it more in terms of having a deep sense of justice. Growing 110 Years. ABC News. November 9. Available online: https://www.abc.net.au/news/2014-11-09/scientists- up not knowing the historical truths of this nation’s beginnings led to an internal call to want to know discover-70-aboriginal-graves-on-fraser-island/5877802 (accessed on 24 May 2020). Attwood,more. Bain, and Stephen Foster, eds. 2003. Frontier Conflict: The Australian Experience. Canberra: National Museum of Australia. Funding: This article received no external funding. Behrendt, Larissa. 2016. Finding Eliza: Power and Colonial Storytelling. Brisbane: University of Queensland Press. Byrd,Conflicts Jodi A. of 2011. Interest:The TransitThe author of Empire: declares Indigenous no conflict Critiques of interest. of Colonialism . Minneapolis: University of Minneapolis and First Peoples. Evans, Raymond. 1999. Fighting Words Writing about Race. Brisbane: University of Queensland Press. Evans, Raymond, Kay Saunders, and Kathryn Cronin. 1975. Exclusion, Exploitation and Extermination: Race Relations in Colonial Queensland. Brookvale: Sydney, Australia and New Zealand Book Company Pty Ltd. Casey, Dawn. 2003. Culture Wars: Museums, Politics, and Controversy. Open Museum Journal 6: 1–23. Foley, Fiona. 1998. Blast from the Past. In Constructions of Colonialism: Perspectives on Eliza Fraser’s Shipwreck. Edited by Ian McNiven, Lynette Russell and Kay Schaffer. London: Leicester University Press. Foley, Fiona. 2011. When the Circus Came to Town. Art Monthly Australia. November Issue 245. Available online: http://www.artmonthly.org.au/issue-245-november-2011 (accessed on 4 July 2020). Foley, Fiona. 2020. Biting the Clouds. Brisbane: University of Queensland Press. Foley, Rowan. 2000. Eulogy Shirley June Foley (7 December 1937–23 July 2000), Unpublished Family Document. Hervey Bay-Fraser Island Sun. 1986. Fraser Island Lease Sought. Hervey Bay: Hervey Bay-Fraser Island Sun, p. 5. Kidd, Rosalind. 1997. The Way We Civilise: Aboriginal Affairs—the Untold Story. Brisbane: University of Queensland Press. Loos, Noel. 2017. Invasion and Resistance: Aboriginal-European Resistance on the North Queensland Frontier 1861–1897. Salisbury: Boolarang Press. McNiven, Ian, Lynette Russell, and Kay Schaffer, eds. 1998. Constructions of Colonialism: Perspectives on Eliza Fraser’s Ship Wreck. London: Leicester University Press. Genealogy 2020, 4, 74 15 of 15

Miller, Olga. 1998. K’gari, Mrs. Fraser, and Butchulla Oral Tradition. In Constructions of Colonialism: Perspectives on Eliza Fraser’s Shipwreck. Edited by Ian McNiven, Lynette Russell and Kay Schaffer. London: Leicester University Press. Miller, Glen. 2016. Legends of Moonie Jarl ... The First Aboriginal children’s book by Aboriginal people. Indigenous Literacy Foundation. June 6. Available online: https://www.indigenousliteracyfoundation.org.au/news-events/ legends-of-moonie-jarlthe-first-aboriginal-childrens-book-by-aboriginal-people (accessed on 24 May 2020). Pascoe, Bruce. 2019. Salt. Carlton: Black, Inc. Poignant, Roslyn. 2004. Professional Savages: Captive Lives and Western Spectacle. New Haven: Yale University Press. Quail, Avril. 2000. Laced Flour and Tin Boxes: The art of Fiona Foley. In World of Dreamings: Traditional and Modern Art in Australia. Canberra: National Gallery of Australia, Available online: https://nga.gov.au/dreaming/ index.cfm?Refrnc=Ch8 (accessed on 7 April 2020). Reeves, Wilf, and Olga Miller. 1964. The Legends of Moonie Jarl. Brisbane: Jacaranda Press. Reynolds, Henry. 1981. The Other Side of the Frontier: Aboriginal Resistance to the European Invasion of Australia. Victoria: Penguin Books Australia Ltd. Richards, Jonathan. 2008. The Secret War: A True History of Queensland’s Native Police. Brisbane: University of Queensland Press. Roberts, Tony. 2005. Frontier Justice: 2005. In A History of the Gulf Country to 1900. Brisbane: University of Queensland Press. Rothfels, Nigel. 2002. Savages and Beasts: The Birth of the Modern Zoo. Baltimore: John Hopkins University Press. Rowley, Charles Dunford. 1970. The Destruction of Aboriginal Society. Victoria: Penguin Books Australia Ltd. Schaffer, Kay. 1995. In the Wake of First Contact: The Eliza Fraser Stories. Cambridge: Cambridge University Press. Smith, Terry. 2001. Public Art Between Cultures: The “Aboriginal Memorial,” Aboriginality, and Nationality in Australia. Critical Inquiry 27: 629–61. Thomas, Nicolas. 2003. Cook: The Extraordinary Voyages of Captain James Cook. London: Bloomsbury. Wright, Alexis. 2016. What Happens When You Tell Somebody Else’s Story? Meanjin. Summer. Available online: https://meanjin.com.au/essays/what-happens-when-you-tell-somebody-elses-story/ (accessed on 24 May 2020).

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