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Aboriginal and Torres Strait Islander cultures and histories

WARNING: Visitors should be aware that this website includes images and names of deceased people that may cause sadness or distress to Aboriginal and Torres Strait Islander peoples.


Welcome to the National Museum of Australia’s Aboriginal and Torres Strait Islander program.

Curator Jay Arthur in Kempsey with a group of Kinchela boys at the donation of the Kinchela gate to the National Museum (from left) Michael Walsh, Cecil Bowden, William Lesley, Ian (Crowe) Lawson and Manuel Ebsworth.

Photo: Barbara Paulson.


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Curator Jay Arthur in Kempsey with a group of Kinchela boys at the donation of the Kinchela gate to the National Museum (from left) Michael Walsh, Cecil Bowden, William Lesley, Ian (Crowe) Lawson and Manuel Ebsworth.

From the Museum

Explore our exhibitions and online features on the diversity of Aboriginal and Torres Strait Islander peoples, enduring Indigenous attachment to country and contributions to Australian society.

Exhibitions and galleries

Past exhibitions

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Objects

Collection highlights

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Collection interactives

 

Goree

Goree looks at the activities and achievements of the National Museum of Australia as we engage with Aboriginal and Torres Strait Islander peoples and their material culture, and share their stories.

Latest from Goree

STORIES

21 Nov 2016

Ian Dunlop and the Western Desert films

Ian Dunlop with Spencer (Nuni) Banaga
Artefacts seen in Ian Dunlop’s groundbreaking Western Desert films from the 1960s are an important addition to the National Museum’s collection.

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Did you know?

The Aboriginal and Torres Strait Islander program’s web banners and the title of our online newsletter, Goree, were inspired by the bogong moth.

Goree means 'bogong moth' and historically, the Ngunnawal and Ngambri peoples gathered at the site where the Museum stands in Canberra for an annual bogong moth ceremony.


Passing Down the Knowledge

‘Your father and kurdungurlu [ritual manager] give you a clue, they’ll show you a drawing on the ground first. You know it because you’ve seen your father [in a ceremony] with that painting on his body. You’ll see it, then you’ll know it.’

Michael Nelson Tjakamarra, 1988