FEATURE
Reconciling the Past:
Revising Australia’s Historical Tapestry
BEHIND THE ARTICLE
“Dyarubbin/Hawkesbury River” represents life on and around the river in Windsor, NSW, Australia. It was commissioned for the Thompson Square interpretation project, 2018, and created by Dharug artist Leanne Watson Redpath. Photo by Kylie Christian.
It seems ridiculous and unimaginable to me today that during most of my early education, the absence of women in the historical texts did not raise an eyebrow in my young mind. I was continually amazed at people's achievements, but I failed to recognize that the stories were unbalanced in many details. Unfortunately, whilst improving, these characteristics of ignorance and exclusion remain prevalent in just about every “civilized” or “educated” society worldwide.
Stepping back, I can say that at a young age, I knew I was inherently an interpreter of history. Not strictly a historian, but someone who unpacked the stories of history to find the connections between people and places. It took me a couple of decades before I became aware of the term “interpretation” or that it was its own profession. Once the genie had been released from its bottle, around the age of ten, I became quietly disgruntled about the lack of women portrayed (or even mentioned) in textbooks or history books. I soon discovered that Australia was a country with a hidden past and a remarkably absent female population—as far as those who were recognized in the written histories. But I also learned that women are everywhere if you unravel the fabric that tells the story of women’s history.
Fast forward to today, and we are still a fractured country, unable to reconcile the events of the last 250 years, let alone fully acknowledge our complex and distorted history. But a large cohort of interpreters, historians, heritage professionals, and academics is now bringing significant elements of this history into sharp focus. They are positioning women who forged societies before and after colonization, led communities, inspired progress, and those who were highly political but hidden in plain sight, squarely where they need to be–in the pages of history books, the fabric of heritage sites, the memories and artefacts of museums, and in the learnings of audiences. Their stories are being interpreted and shared.
The Australian Perspective
Australia is the oldest continent on Earth and home to the world's oldest known continuously living culture. The Aboriginal peoples, consisting of over 250 individual Nations, have existed for over 60,000 years. The Aboriginal and Torres Strait Islander peoples are acknowledged and recognized as the First Australians. They have a comprehensive, observation-learned, unwritten cultural knowledge universally based on what they call “Country.” Like all cultures, they also practice a vast array of traditions that can be similar or different within each Nation. Yet, like most contemporary societies built on the violent, turbulent, and forced transition imposed by colonization, this ancient knowledge, along with their stories, names and languages, were all but erased from the historical tapestry. In the first 140 years of colonization alone, it is estimated that over 10,000 Aboriginal and Torres Strait Islander lives were lost in over 400 frontier massacres across Australia. The cultural loss is still incomprehensible, making finding information about the women of this period difficult.
Similarly, women of the early colonial years were also relegated to the unspoken and unwritten segments of historical discourse. The narrative of early European life in Australia is often male-dominated, focusing on the explorers, convicts, and settlers who colonized the land. However, free and convict women were crucial in these early communities. Their stories, fraught with challenges, resilience, and adaptability, are central to understanding the sociocultural dynamics of the early years, Australia’s contemporary cultural values, and the pathways Australia is on towards reconciliation.
Yet from within the existing tapestry, albeit sometimes almost invisible, there are glimmering threads that provide glimpses into the lives and stories of some formidable women who have shaped the nation’s destiny and identity. Women such as Barangaroo (c.1750-1791), a leader of the Cammeraygal who confronted the First Fleet colonists on the shores of modern-day Sydney, or Maria Lock (c.1805–1878), the first student of the Parramatta Aboriginal Native Institution and a significant landowner, or Mary Reiby
Dharug artwork was used throughout the entire Thompson Square interpretation project, including on all signage, representing the continuous, unbroken relationship Aboriginal peoples have with Country. Photo by Brittany Christian Photography.
Dyarubbin/Hawkesbury River was an integral part of the storytelling for the Thompson Square interpretation project site. A viewing platform, with discrete signage, provided a timeline for visitors—including the stories of local women through all ages. Photo by Brittany Christian Photography.
Custom signage for the Thompson Square interpretation project included truth-telling content developed in collaboration with local Aboriginal women, Aboriginal artwork, and QR codes to connect to online resources. Photo by Brittany Christian Photography.
(1777-1855), a colonial convict, transported from England yet one of Australia’s earliest and most successful businesswomen and who is represented on Australia’s twenty-dollar bill. Their stories, often not fully acknowledged, are equally engaging, showing that women have always fought for equality and been at the forefront of societal change. Uncovering their journeys through research, understanding, and interpretation reveals a narrative of strength, perseverance, and transformation.
Australia has always had strong female role models, whether written about or not. They have always played a pivotal role in communities. Within Indigenous communities, they are keepers of particular traditional cultural practices and are foundational figures in families. As knowledge holders, women are instrumental in passing down appropriate stories, language, rituals, and information to the next generation. Likewise, women were integrated into colonial life, often achieving despite the odds or lack of acknowledgement. Some, however, have stood out, including women such as the successful farmer Molly Morgan (1762–1835) or the convict chronicler Margaret Catchpole (1762–1819). Even artists Harriet (1830-1907) and Helena (1832-1910) Scott, who completed an incredible range of drawings of moths and butterflies during the mid-nineteenth century, significantly contributed (regardless of gender) to the entomological knowledge of the period, clearly showing that there is a need to tell the broader story of people in Australia.
Thankfully, more recently, there has been a focus on the responsibility of heritage interpretation assisting the storytelling process for sites, places, and communities. This can be seen in the devices used but also in the use of technology, design, exhibitions, and in-person guides. This change has made sharing local stories and knowledge more engaging and inspired curiosity about understanding the significance of people and place for audiences.
Within the Hawkesbury River region of New South Wales, about an hour’s drive from Sydney, acknowledging different perspectives has been an ongoing and sometimes complex process. In Windsor’s Thompson Square, one of the original “Macquarie Towns” designated by Governor Lachlan Macquarie during the early nineteenth century, the story of the place is shifting from a focus solely on the colonial period to one that embraces the diversity of the area’s history. This includes the tragedy, torment, and discrimination faced by local Aboriginal peoples when Macquarie’s grand scheme was put into action.
For this Thompson Square interpretation project, adding a digital element, a dedicated website with QR codes on signage, brings the stories and discoveries to a worldwide audience. Additionally, visual interpretation offerings such as a video that recreates a sailing vessel uncovered during the project, the provision of a permanent, custom-built interpretation exhibition within the local museum, and the installation of signage that aims to inform and engage, have all contributed to the successful reimagining of the area’s history.
The Thompson Square interpretation project showcases how a multifaceted approach has helped entwine various voices, including women, into the official historical discourse. Not only has the archaeology (Historical, Aboriginal, and Maritime) provided evidence-based context to inform the storylines, but the integration of the stories and knowledge by local Aboriginal women has meant that a full range of perspectives has been included in the history presented to new visitors and audiences. Contemporary Aboriginal artworks by local, award-winning artist Leanne Watson Redpath were used throughout the design process as a reminder that women, especially Aboriginal women, have been influential in the area for millennia.
Harmonizing Ancient and Modern
The permanent exhibition of the archaeology of the Thompson Square interpretation project area includes extensive interpretation of artifacts, local stories, and traditions, as well as information on the role of women in the history of the area. Photo by Kylie Christian.
The shift towards a more inclusive and accurate portrayal of women in Australian history is changing how the nation and the world view its past. This evolution is not just about adding women to the historical narrative; it's about re-examining and reinterpreting history through a more diverse and inclusive lens. Therefore, our approach to heritage interpretation has also had to change.
Through the growth of social history during the 1970s in Australia, the recognition of women's valuable role in society and nation-building has been acknowledged. Australia led the world in women's suffrage during the late nineteenth century. Women in South Australia were among the first globally to attain the vote and the right to stand for parliament. This era marked a significant shift, empowering women and acknowledging their societal role. Those stories are now being showcased in our national museums and galleries, not as add-on elements to other stories but as standalone interpretations of periods and people of history.
During both World Wars, Australian women took on roles traditionally held by men, contributing significantly to the war effort and societal stability. Post-war, the momentum for women's rights continued, leading to landmark decisions in the workforce and continued advocacy for equal rights and pay. Our national war memorial provides more opportunities and exhibitions that showcase the role and contribution of women.
In recent decades, women have made considerable strides in politics, entertainment, and business, achieving positions of leadership and influence. Legislation like the Sex Discrimination Act (1984) has been instrumental in promoting gender equality in Australia, and women continue to fight for their rights and recognition. However, we have, and are, continually fighting to regain our rightful place in history.
The journey of Australian women is one of courage, change, and persistent challenge. It is also one of survival, empowerment, recognition, and achievement. This ever-evolving narrative marks a significant step forward in how the country acknowledges and celebrates its past. Through the role of heritage interpretation, the contributions and legacies of women are being brought to light, offering a more prosperous, more diverse, and truthful depiction of Australia's history. This shift not only rectifies past oversights but also sets a precedent for how history should be interpreted and taught, emphasizing inclusivity, respect, and truthfulness.
A significant artifact uncovered during the maritime archaeology of the Thompson Square interpretation project area was a traditional axehead providing scientific evidence on the length of time and the continual inhabitation of the area by Aboriginal peoples. Photo by Kylie Christian.
