Extinction myth published in
The Tasmanian in 1895|upright=1.2|alt=Newspaper page titled "Last Members of a Past Race", dated 18 May 1895, showing two oval portrait photographs labelled "William Lanne, last Tasmanian male Aboriginal" and "Truganini, last Tasmanian female Aboriginal". Upon the death of Truganini, the Tasmanian government declared the island's Aboriginal population extinct. The narrative that Truganini was the last surviving Aboriginal Tasmanian had been reinforced before her death by the widely read 1870 book
The Last of the Tasmanians, which cast Truganini as the last remnant of her doomed people. Narratives regarding Aboriginal Tasmanians in the years surrounding her death often framed them as a proud and noble people whose extinction was a sad but inevitable consequence of British colonisation. The genocide scholar Tom Lawson argues that the extinction narrative served to reinforce the supposed power and superiority of the
British Empire by presenting the Tasmanian Aboriginal community as having "simply been swept away by [its] might". The narratives that formed in the years surrounding Truganini's death led to an enduring popular belief that Tasmania's Aboriginal population had become extinct upon her death. However, a substantial community of Aboriginal Tasmanians continued to be born on
Cape Barren Island and other islands in the
Furneaux Group. This community, referred to as the Islanders, were descended from the children of Aboriginal women and white sealers and were seen as "hybrids" by the colonists. Their claims of Aboriginal identity were widely dismissed until the latter half of the 20th century on account of their mixed descent and the widespread view that
Aboriginality was a fixed and biological characteristic that relied on "full-bloodedness". The historian
Lyndall Ryan's 1981 book
The Aboriginal Tasmanians was among the first works of history to challenge the extinction myth and argue for the existence of a surviving community of Aboriginal Tasmanians. In the aftermath of the
Second World War, as genocide entered public discourse, the treatment of Aboriginal Tasmanians began to provoke greater discomfort. A campaign from members of the public led to the removal of Truganini's skeleton from public display at the Tasmanian Museum in 1947. In 1948 the writer
Clive Turnbull published
Black War: The Extermination of the Tasmanian Aborigines, in which he presented Truganini as an active figure who resisted the extermination of her people. This new mythology influenced the creation of artistic and literary depictions of Truganini as symbolic of a genocide perpetrated against the Tasmanian Aboriginal population. The historian
Rebe Taylor wrote in 2012 that Truganini became a symbol of white Australians' guilt at the extermination of her people. |alt=Stone memorial with an inset bronze face and a plaque reading, "This memorial is dedicated to the memory of Truganini 1812–1876". The late 1970s saw the emergence of
post-colonial scholarship and a more vocal Aboriginal rights movement, including activism by the Tasmanian Aboriginal Centre for the
repatriation of Aboriginal remains. This period also saw some revisionist accounts of Truganini's legacy. In 1976
Vivienne Rae-Ellis published a controversial revisionist biography of Truganini titled
Trucanini: Queen or Traitor? in which she presented Truganini as a
femme fatale who betrayed her people by collaborating with European settlers. In the 1990s, historiographies of the competing narratives surrounding Truganini's life and legacy began to be developed. The cultural studies scholar
Suvendrini Perera wrote in 1996 that Truganini had become "a marker of semiotic complexity" and that "her body is the site of competing narratives about power and powerlessness: agent or object, hostage or traitor, final victim or ultimate survivor?". Truganini was also reclaimed as an anti-colonial figure by some members of the Aboriginal community. Taylor writes that Truganini became "the national confessional" and the "poster girl of our national story of indigenous dispossession". Truganini also became a focal point of debates over the status of Tasmania's Indigenous population. The 1978 documentary
The Last Tasmanian rekindled the narrative that the Tasmanian Aboriginal population had become extinct upon Truganini's death. The documentary prompted backlash from the modern Tasmanian Aboriginal community, who reasserted their enduring culture and Aboriginal identity. The community later protested a reference to Truganini as the "last Tasmanian" on the sleeve notes of the 1993
Midnight Oil song "
Truganini", arguing that it perpetuated the myth of Aboriginal Tasmanian extinction; the band eventually apologised. According to Lawson, narratives of Tasmanian extinction and extermination have persisted in Britain into the twenty-first century. In 2009 a group of Aboriginal Tasmanians protested at
Sotheby's against the sale of copies of Benjamin Law's 1835 busts of Truganini and Woureddy. They were ultimately successful in having the sale cancelled after arguing that the community should be given the right to control how depictions of their ancestors could be used and put on display. The protest became a flashpoint in debates about Aboriginal rights, with some conservative writers using the saga to condemn what one of them described as the radicalism of the "ultra-left Aboriginal fringe". The art historian
David Hansen wrote an essay on the debate titled
Seeing Truganini, in which he argued that it was wrong to give contemporary Aboriginal communities the final say over artistic representations of Aboriginal history.
Cultural depictions |alt=Painting showing a European man standing among a group of Aboriginal people holding spears, with dogs and a wallaby in the foreground. In 1997 Ryan wrote that Truganini had been the subject of more than fifty poems, at least fifty paintings and photographs, and about fifty scientific papers, and had been featured in novels, plays, and a stamp. In these depictions, Ryan said that Truganini had been variously "revered, rebuked, sensationalised, sensualised, vilified, mocked, and politicised". Some portrayals of Truganini have been compared to those of the native American woman
Pocahontas, with both presented as a "native princess" selflessly saving the life of a settler. One widely debated representation of Truganini is
Benjamin Duterrau's 1840 painting,
The Conciliation. It depicts a meeting between Robinson and a group of Aboriginal Tasmanians, who agree to cease fighting and enter into exile. In the book
Black War, Turnbull argued that Truganini is depicted standing next to Robinson, symbolically attempting to resist the exile of her people. Rae-Ellis, who wrote that Truganini was a traitor to her people, suggested that Truganini was instead the figure second from the right in the act of betraying her people to Robinson. Other historians have said that Truganini is one of the women depicted at the far back of the painting. Ryan reinterpreted the painting as displaying tension between Robinson's Indigenous guides and the rival Big River people, arguing that the painting depicts the diversity of Indigenous Tasmanian experiences rather than Truganini's submission. ==See also==