Though her brave acts were acknowledged after her death, Wauba Debar’s grave was later robbed in the name of “science”.
A grave stands in Bicheno, paid for by locals in the 1800s. It stands as a testament to the lifesaving ocean feats and tragic life of Indigenous woman Wauba Debar.
Lower Snug looking across North West Bay to Mt Wellington, Tasmania.
Alone and adrift in Melbourne, Cassandra Pybus returned on a whim to her childhood home of Tasmania. There, she rediscovered nature's power, encountering the island's difficult history as well as her own.
This pin cushion made from the jawbone of a thylacine won second prize in the handicraft section of the Glamorgan Show in 1900.
Courtesy Tasmanian Museum and Art Gallery
A new book connects disparate objects and texts to tell the story of Tasmania. It is an inspired enterprise.
Participants in A Tasmanian Requiem, a musical performance addressing Tasmania’s Black War.
A Tasmanian Requiem brings together Western and Aboriginal voices to confront the violence of the state's Black War. It shows what a historical reckoning, and reconciliation, might look and sound like.
Thylacine joey, from the collections of the Natural History Museum, London.
More than 160 thylacine specimens lie in museum collections in the UK. The sight of their bodies is a shocking reminder of loss.
Detail from a reconstruction of a Tasmanian picture board by Simon Barnard (2015).
Kristyn Harman and Nicholas Brodie
In the early days of colonial Tasmania, the British used threatening picture boards to communicate with Aboriginal people, giving them a choice between conciliation and death.