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Gracemere is a rural town and locality in the Rockhampton Region, Queensland, Australia. The area was first explored by Europeans in 1853, when the Archer brothers arrived looking for pastures for their sheep. They settled by a small lake, originally called "Farris" or Padgole lagoon which was named Gracemere in 1855. The name Gracemere comes from "Grace", the name of Thomas Archer's wife, and "mere" which is a Scottish term for the lake.[2][3] They also located a suitable landing point for supplies on the nearby Fitzroy River, which later became Rockhampton. In July 1855, Charles and Thomas Archer with around 30 other people including four Native Police troopers, four Aboriginal men from the Burnett River, and their wives, left the Archer's Eidsvold pastoral station in order to construct the Gracemere run. The Commissioner for Crown Lands in the Leichhardt region, William Wiseman, joined them to help locate the most appropriate area, and in August 1855 they determined the area next to the current Gracemere lagoon was best. The local Aboriginals led by "King Harold" wished to obtain peaceful conditions with the Archer brothers and in return for allowing the indigenous people to live in the area, the Archer brothers utilized Harold's people to aid in forcibly "restraining the outside blacks" who were resisting British occupation. Source: en.wikipedia.org/wiki/Gracemere,_Queensland#:~:text=The%2....

A Brief History of Widgee For thousands of years, the Widgee area was home to the Kabi Kabi aboriginals of the Wide Bay region, with one tribal group, the Kaiabara, particularly associated with Widgee. Unfortunately, the advent of European settlement resulted in much friction between the local aborigines and the settlers early on, finally resulting in the local tribes being driven from the area. Their former presence is marked today by a number of bora rings and by many of the local place names. The first European settlers arrived in Widgee in the late 1840s following William Tooth and Company's successful tender for two runs in the area. Tooth and Company's Widgee Station was renowned in its early days for the quality and quantity of beasts fattened in the area, and for the exploits of the local horsemen. The tradition of horsemanship lives on today in the annual Bushman's Carnival held each May. Source: www.widgee.info/widgee_history.htm

King Plates describes and illustrates a large collection of Aboriginal gorgets, also called king or brass plates. These were presented to perceived 'chiefs', faithful servants, and to the especially courageous, by governors and landholders. In other words, they were given to anyone who helped in some way to ease the white settlers' progress in the new colonies. They had already been used in North America for the same purpose. Source: aiatsis.gov.au/publication/35807

Introduction to King Plates: A History of Aboriginal Gorgets by Jakelin Troy, 1993 In 19th and early 20th century Australia, Aboriginal people who distinguished themselves in the eyes of the non-Aboriginal population were honored with an inscribed metal plaque to hang around the neck. These plaques have been known by many names but were most often called ‘King’, ‘breast’ or ‘brass’ plates. However, in this book they are called ‘gorgets’ because they were made not only for men and not only for people who were seen to be leaders. The name was also chosen because the plaques were modified copies of the gorgets worn as badges of office by infantry officers in Australia until 1832. In spite of the important role Aboriginal gorgets played in the development of social relationships between Aboriginal people and non-Aboriginal people in colonial Australia, they have not been the subject of any substantial publications. Commentary on the gorgets is extremely sparse. The gorgets are tangible physical links with Aboriginal people who were intimately involved in the colonial history of Australia. The names and affiliations inscribed on the gorgets are particularly important as documentary records of Aboriginal history. Ancestral connections with many contemporary Australians may be established through clues that the inscriptions provide. Source: www.nma.gov.au/explore/features/aboriginal-breastplates/i...

Wanhtharra nyundu! Welcome to our country! Cooktown lies in Guugu Yimithirr country, a tribal nation that stretched from the Annan River, south of Cooktown, to Princess Charlotte Bay in the north. This is one of the Cape’s forty-one tribal nations, each having its distinct language, history, culture, bush foods and bush medicines. The Guugu Yimithirr nation was divided into thirty-two clan (or extended family) areas, with boundaries defined by geographical landmarks. Aboriginal people lived in these small clan groups, looking after their lands, its sacred sites and special story places, just as people now look after their house and family photos. Today Guugu Yimithirr people maintain their strong links with the land and its special places. The word Bama (pronounced Bumma) is widely used throughout Cape York to mean an Aboriginal person, but in Guugu Yimithirr, the word simply means ‘person’ regardless of nationality or race. The Guugu Yimithirr name for Cooktown is Gungardie, after the word gun-gaar – a type of crystal quartz found in the area which was used for cutting the chest skin for initiations. Source: www.cooktownandcapeyork.com/do/history/aboriginalculturec...

Aboriginal body painting or art and personal ornamentation is an ancient tradition that carries deep spiritual significance for the Australian Indigenous People. Their cultural rituals including body painting differ between Aboriginal Tribes and topographic locations. It is related to spiritual matters and is very creative in character. The specific designs and motifs used by the Aboriginals reveal their relationships to their family group, social position, tribe, precise ancestors, totemic fauna, and tracts of land. There are very strict guidelines to how the body painting and adornment is carried out and an Aboriginal person is not allowed to just use any motives or adornment in their transformation. They must follow traditional, respected patterns. The person adorned with the body paint often takes on the spiritual part of their ancestor dancing, immersed in their character. In northwest Queensland, men rub their foreheads with charcoal and paint a white band from either eyebrow down the front of the ear and along the shoulders and arms. White and red bands are painted across the chest and the rest of the body is covered in red. Aboriginals use different items and ways to decorate the body include scars, feathers, shells, teeth, ornaments, face paint, and body paint. Symbols are greatly used and can represent many things about the person who uses it. It is often used to tell a spiritual story. Source: www.aboriginal-art-australia.com/aboriginal-art-library/a...