What does boxing have to do with anticolonial politics?

How did the sport become a space where Black and Indigenous fighters in Australia pushed back against racism and empire?

From Peter Jackson to Jack Johnson, Marcus Garvey to Les “Ranji” Moody, this episode explores how Black and Indigenous fighters turned the ring into a stage for resistance and anticolonialism.

Worimi historian Professor John Maynard talks about the links between Jackson and the first official Black heavyweight world champion Jack Johnson, whose world-title fight took place in Sydney in 1908.

Maynard’s grandfather spent time with Johnson, and he talks about how Johnson’s time here links to the later emergence of anticolonial politics among Indigenous people inspired by the Jamaican Marcus Garvey.

We then talk to Aboriginal author Tony Birch about his Barbadian ancestor Prince Moody, who was transported to Australia as a convict for ‘disobedience’, and his great uncle Les ‘Ranji’ Moody, who Birch knew growing up in Fitzroy.

Les was a pathbreaking boxer and journalist who was the Australian bantamweight champion during the First World War. Birch discusses how oral history and creative engagements with the colonial archive can recover marginalized stories.

Professor John Maynard is recognized as one of Australia's foremost Indigenous historians, whose work reveals previously missing chapters in Aboriginal history. His groundbreaking research on Aboriginal political activism in the 1920s uncovered the influence of Caribbean and African American figures, particularly Marcus Garvey. Maynard has written acclaimed books, including Fight for Liberty and Freedom and The Aboriginal Soccer Tribe, a Walkley Award finalist. He has held prominent positions, such as Director of the Wollotuka Institute and Deputy Chairperson of AIATSIS, and is a recipient of numerous fellowships and awards.

Professor Tony Birch is a writer, activist, historian and essayist, and is currently the Boisbouvier Chair in Australian Literature at the University of Melbourne. He has published four novels, most recently Women & Children, which won the 2024 The Age Fiction Book of the Year. Each of his novels has won major prizes and he’s twice been shortlisted for the Miles Franklin Literary award. He has also published two poetry books and four short story collections, the most recent of which, Dark as Last Night, won both the 2022 NSW Premier’s Literary Award and the Queensland Literary Award for Fiction.

This series was produced on the lands of the Gadigal people of the Eeora Nation and Burramatagal people of the Dharug nation.

Narrator, writer, and producer: Sienna Brown

Sound recordist, writer, and producer: Ben Etherington

Supervising producer: Jane Curtis, UTS Impact Studios

Executive producer: Sarah Gilbert, UTS Impact Studios

Sound designer and engineer: John Jacobs/jollyvolume

The research for this series was funded by the

Did you know that the most famous Australian in the world in 1890 was from the Caribbean?

Peter Jackson was born in St Croix in the Caribbean in the years after slavery was abolished. He arrived in Sydney as a teenager and got noticed when he single-handedly fought off seven in a brawl at Wynyard Square.

He soon stepped into Sydney’s boxing rings and, by 1890, he was Australia’s heavyweight champion and chasing the world title in the United States.

But he was no ordinary boxer.

He moonlit as an actor, quoted Shakespeare, and was a media pioneer, carefully shaping his own public image long before Instagram.

In this episode, award-winning sports journalist Grantlee Kieza charts Jackson’s rise through the boxing world, while cultural historian Professor Jordana Moore Saggese explains how he mastered self-presentation through photography and mass media. Historian Myron Jackson brings us back to St Croix, where Peter’s colonial schooling met the lessons of the street.

Peter Jackson’s story is about much more than boxing — it’s about race, representation, and the adaptability and durability of Caribbean culture.

Peter Jackson is played by British-Sierra Leonean actor Alpha Kargbo.

Grantlee Kieza OAM is an award-winning journalist who specialises in historical Australian stories. He has published more than twenty biographies, many of them bestsellers, and held senior editorial positions at The Daily Telegraph, The Sunday Telegraph and The Courier-Mail. He is a Walkley Award finalist, a 2025 ABIA shortlisted author for Biography of the Year, a 2025 Indie Award shortlisted author for Non-fiction, the No. 1 history author in Australia in 2024.

Jordana Moore Saggese is Professor of Modern and Contemporary American Art at the University of Maryland, College Park whose research focuses on modern and contemporary American art and photography, with an emphasis on expressions of Blackness. She is the author of The Jean-Michel Basquiat Reader: Writings, Interviews, and Critical Responses, and her most recent book Heavyweight: Black Boxers and the Fight for Representation (Duke University Press, 2024) engages extensively with Peter Jackson.

Myron Jackson is a historian and retired Senator who has dedicated his life to Virgin Islands history and culture, guided by the African proverb, “Go Back And Fetch It”. A graduate of Parsons School of Design, he held significant positions including Director of the Virgin Islands State Historic Preservation Office and executive director of the Virgin Islands Cultural Heritage Institute. As a Senator, Jackson served as the Chair of the Committee on Culture, Historic Preservation, Youth and Recreation. He has researched and published widely in preservation.

Alpha Kargbo is a British-Sierra Leonean actor trained at the Royal Welsh College of Music & Drama. His theatre work spans the UK, Europe, and Australia, including The Da Vinci Code (UK Tour), Malthouse Theatre, and Melbourne Theatre Company. On screen he has appeared in Bloods (Sky UK) and The Undeclared War (Channel 4), directed by Peter...

History Lab is back—refreshed and reimagined.

From now on, you’ll hear us in regular seasonal runs, dropping new episodes once or twice a fortnight over six to eight weeks.

Each run will showcase a mix of formats:

• History Lab Originals – our signature investigative storytelling that digs into the gaps between us and the past.
• History Lab Studio – interviews and discussions with historians.
• History Lab Live – recordings of public history talks from libraries, bookshops, and university halls, where history meets its audiences.

This new approach means more variety, more regularity, and more ways to connect with the history that shapes our world.

• ORIGINALS Caribbean Echoes: A powerful four-part History Lab Original by Sienna Brown and Ben Etherington that uncovers the lives and legacies of Caribbean people in Australia, including boxer Peter Jackson and cabaret star Nellie Small.
• LIVE David Scott Mitchell Oration: ABC Chair Kim Williams reflects on the role of libraries and archives in preserving truth and democracy.
• LIVE The Last Outlaws: Professor Katherine Biber discusses her gripping new book on crime, justice, and truth telling.

Since 2018, History Lab has produced 29 episodes across six seasons, exploring not only what happened in the past, but how we can know about it.

Now, in a crowded world of podcasts, we’re focusing on what makes us different: investigative history, bold conversations, and live public storytelling.

By listening and sharing, you’re helping build a platform for public history in Australia, something we need now more than ever. Thank you.

Host: Tamson Pietsch, Director of the Australian Centre for Public History

Executive Producer: Sarah Gilbert

Produced on Gadigal land at UTS, Sydney by Impact Studios.

What is the work of truth-telling? How is evidence collected? What happens next?

What role should schools play in teaching Australia’s full history?

Australia has completed its first, formal truth-telling process — the Yoorrook Justice Commission of Victoria.

We joined Commissioner Travis Lovett on his 500-kilometre Walk for Truth from Portland on Gunditjmara Country, to Parliament House on Wurundjeri Woi-wurrung Country in Melbourne, to hear firsthand of the Commission's work.

Along the way, you'll hear testimonies from Elders and Victorian Premier Jacinta Allan, reflections from researcher Dr Matthew Keynes, and insights into how truth-telling can transform education, policy, and our shared future.

Travis Lovett is a proud Kerrupmara/Gunditjmara man and Traditional Owner and the Deputy Chair and Commissioner of the Yoorrook Justice Commission.

Dr Matthew Keynes is a non-Indigenous scholar working on unceded and sovereign Wurundjeri land. His research investigates the ways that education contributes to justice, peace, and social transformation by repairing historical injustices and legacies of violence.

Links

• Yoorrook Justice Commission Truth Archive
• Yoorrook Justice Commission Reports and Recommendations
• We have always been here by Dr Matthew Keynes
• National Indigenous Youth Education Coalition
• Truth-telling in early education by Gowrie Victoria
• Day Break by Amy McQuire
• How do you prepare your child for truth-telling? by Shelly Ware
• Teaching truth-telling: Children's Ground panel on YouTube

• Produced on Gadigal and Gunditjmara Country by Jane Curtis.
• Sound engineering by Jollyvolume.
• Production assistance from Alexandra Morris.
• Hosted by Tamson Pietsch.
• History Lab is produced by the Australian Centre for Public History at UTS and UTS Impact Studios.
• Impact Studios' executive producer is Sarah Gilbert.

This episode was made possible by Dusseldorp Forum, a family foundation committed to a just and equitable Australia, one that is caring, ethical and honours our First Peoples.

Special thanks to Rachel Fyfe and the Yoorrook team.

This special episode from our archives speaks to this year’s NAIDOC Week themes of strength, vision and legacy.

Fishing for Answers explores the sophistication of the fishing practices of Eora women in Sydney Harbour, and asks, How can we hear from the women themselves and find out what their world sounded like?

Content warning: If you are an Aboriginal or Torres Strait Islander person this episode may contain the names of people who have died.

• Producers: Tom Allinson and Ninah Kopel
• Collaborators: Anna Clark, Nathan Sentance, Tim Ella and Maddison Lyn Collier
• Executive Producer: Emma Lancaster
• Associate Producer: Anna Clark
• Sound Design: Joe Koning
• Host: Tamson Pietsch
• Voice Actor: Steve Ahern
• Additional production assistance: Ellen Leabeater and Miles Herbert
• Marketing and communications: Andy Huang

Thanks to Les Bursill OAM for his advice on the Darug language, and Grace Karskens and Renee Cawthorne.

This episode was made on Gadigal Country.

Colonial portraits have long dictated how Indigenous people were seen. But Indigenous artists continue to challenge that power. Through satire, reinterpretation, and resistance, they’re using art to question history—and reshape the future.

In this episode, historians Kate Fullagar and Mike McDonnell speak with contemporary Indigenous artists who are confronting the legacy of empire. Michel Tuffery, a New Zealand-based artist of Samoan, Tahitian, and Cook Islander heritage, reimagines Captain Cook through the eyes of those he encountered. Daniel Boyd, one of Australia’s most celebrated contemporary artists, subverts colonial iconography, turning figures like Cook into symbols of piracy and exploitation. Daniel Browning, an Aboriginal journalist and art critic, reflects on the power—and the lies—embedded in colonial paintings.

Can art break the cycle of representation, or does it always carry the weight of its past? Join us on this final episode of Unsettling Portraits to find out.

Episode images

Cookie in the Islands

This representation of Captain James Cook belongs to a narrative series titled ‘First Contact’. The series retells the story of James Cook’s Pacific voyages from a Polynesian perspective, focusing on the profound way in which Cook himself was altered through his experiences in the Pacific. His identity is altered, as marked by hibiscus flowers, hei-tiki around his neck and his Polynesian features. The name Cookie is not only a more familiar name for Captain Cook but it is also a nickname for a Cook Islander. (Curator's comments)

By Michel Tuffery. 2009. British Museum.

Portrait of Captain James Cook RN

By John Webber, 1782. National Portrait Gallery Australia

Captain No Beard

By Daniel Boyd, Kudjla/Gangalu/Kuku Yalanji/Jagara/Wangerriburra/Bandjalung peoples, 2005. National Gallery of Australia.

Nannultera, a young Poonindie cricketer

By J.M. Crossland, 1854. National Gallery of Australia.

Portrait - Eva Johnson, writer

By Destiny Deacon, 1994. Queensland Art Gallery.

Michel Tuffery, a New Zealand-based artist of Samoan, Rarotongan, and Ma’ohi Tahitian heritage, creates work that bridges environmental, cultural, and historical divides. Known for his role as a connector between people and places, he engages communities through exhibitions, research, and residencies across the Pacific and beyond. A passionate educator, he shares his kaupapa and knowledge with young people through workshops in New Zealand and abroad. Appointed a Member of the New Zealand Order of Merit in 2008 for his contributions to art, he continues to enrich communities through his creative practice.

Daniel Boyd, one of Australia’s leading artists, is a Kudjala, Ghungalu,...

In this episode, historians Kate Fullagar and Mike McDonnell revisit Bennelong’s portraits to examine how colonial art encountered Indigenous identity. Indigenous scholar Jo Rey, a Dharug woman, challenges these depictions, questioning their accuracy and impact.

The conversation then expands to the Pacific, where Māori scholar Alice Te Punga Somerville discusses the story of Tupaia, a Polynesian navigator and artist who traveled with Captain Cook. His illustrations of first contact tell a different story—one of Indigenous agency, not just European discovery.

What do we see when we look at these portraits today? And more importantly, what do they obscure? Join us on Unsettling Portraits to find out.

Episode images

Ben-nel-long

By the Port Jackson Painter, c. 1790. Watling, Thomas. Courtesy of the Natural History Museum, London.

Ben-nil-long

By James Neagle, 1798. Courtesy National Library of Australia.

Australian Aborigines paddling bark canoes and spear fishing

DRAWINGS, in Indian ink, illustrative of Capt. Cook's first voyage, 1768 -1770.

This may record the fishing party observed by Joseph Banks at Botany Bay on 26 April 1770.

By A. Buchan, John F. Miller, and others. Courtesy British Library.

A Maori bartering a crayfish with an English naval officer

DRAWINGS, in Indian ink, illustrative of Capt. Cook's first voyage, 1768 -1770, chiefly relating to Otaheite and New Zealand.

By A. Buchan, John F. Miller, and others. Courtesy British Library.

Guests

Jo Rey is a Dharug scholar and Macquarie University Fellow for Indigenous Researchers in the Department of Indigenous Studies. Her research focuses on Dharug Ngurra/Country, which spans much of the Sydney metropolitan area, examining key cultural sites, including Shaw’s Creek Aboriginal Place and the Blacktown Native Institution. Building on her doctoral research on Dharug cultural continuity, her post-doctoral work explores Indigenous cultural agency through the concept of ‘Living Law’—a framework of sustainable relationality based on Recognition, Respect, Rights, Responsibility, and Reciprocity.

Alice Te Punga Somerville (Māori – Te Āti Awa, Taranaki) , professor of English Language and Literatures at the University of British Columbia, is a poet, scholar, and irredentist whose work explores Indigenous connections, colonial histories, and the power of language. She is the author of Once Were Pacific: Māori Connections to Oceania, 250 Ways to Write an Essay about Captain Cook, and the poetry collection Always Italicise: How to Write While Colonised, each challenging dominant narratives and centering Indigenous perspectives.

Credits

Producers: Catherine Freyne and Helene Thomas.

Story Editor: Siobhan McHugh

Sound Engineer: Martin Peralta

Additional production and editorial support: Jane Curtis, Britta Jorgensen and Celine Teo-Blockey

Additional tile...

Bennelong, a Wangal man of the Eora nation, was among the first Aboriginal people to travel to Europe and return. As a crucial interlocutor between his people and the British colonists, he navigated two worlds but the way he was depicted in colonial portraits raises complex questions. In one, he appears in traditional body paint. In another, years later, he is dressed in European clothing, his identity seemingly reshaped for a colonial gaze. Do these portraits tell us more about Bennelong or the people who painted him?

Portraiture has long been a tool of empire, used to categorize, control, and mythologize. But can these images also reveal Indigenous agency? In this first episode, historians Kate Fullagar and Michael McDonnell visit the National Portrait Gallery to examine Bennelong’s likeness and trace a broader history of representation. They are joined by Anishinaabe writer Gordon Henry, who reflects on 17th-century depictions of Indigenous North Americans, and Cherokee scholar Joseph Pierce, who challenges the sanitized portrait of Cherokee diplomat Ostenaco.

Who really controls the stories that portraits tell? And how do these images continue to shape our understanding of Indigenous identity today? Join us on Unsettling Portraits to find out.

Episode Images

Bennelong

Drawing 41 from the Watling Collection titled 'Native name Ben-nel-long, as painted when angry after Botany Bay Colebee was wounded.’ By Thomas Watling c 1790. Courtesy Natural History Museum London.

Portrait of a Famous One-eyed Man

By Louis Nicolas, 1675. Codex Canadensis, page 14. Courtesy Gilcrease Museum, Tulsa, Oklahoma USA.

Portrait of Syacust Ukah, Cherokee Chief

By Joshua Reynolds, 1762. Courtesy Gilcrease Museum, Tulsa, Oklahoma USA.

Hosts

Kate Fullagar, professor of history at the Australian Catholic University and Vice President of the Australian Historical Association, specializes in eighteenth-century world history, particularly the British Empire and Indigenous resistance. In her role at the AHA, she advocates for truth-telling in Australian historiography, working to integrate Indigenous perspectives and confront colonial legacies. Through works like Bennelong & Phillip, she engages both academic and general audiences, challenging traditional narratives.

Michael McDonnell, professor of Early American History at the University of Sydney, is currently working on several research projects with collaborators, including studies on comparative Indigenous experiences of empire, the American Revolution’s role in Black American life, and memoirs of lower-class Revolutionary War veterans. His work highlights the value of history in fostering diverse perspectives and uncovering new insights about both the past and present.

Guests

Gordon Henry is a member of the White...