Her Name is Nanny Nellie

The statues commissioned by the Australian Museum in 1925 serve as a potent symbol of colonial attitudes and the objectification of Indigenous Australians. Initially displayed as nameless specimens representing a 'dying race,' they embody a historical injustice. The film's narrative hinges on the reclamation of these statues by Nellie Walker's descendants, transforming them from objects of study into powerful reminders of identity, resilience, and the enduring legacy of Aboriginal people.

The central figure driving the narrative is Irene Walker, who undertakes a significant personal journey to uncover the history of her great-grandmother, Nellie Walker. Nellie herself, though appearing through historical context, is the focal point of Irene's quest. The film also implicitly involves the families connected to the other two statues commissioned by the Australian Museum, as Irene seeks to re-establish connections and restore their ancestors' identities alongside Nellie's.

At its core, 'Her Name is Nanny Nellie' is a profound exploration of identity and remembrance. By seeking out the story of Nellie Walker and her family, Irene Walker aims to move beyond a history of objectification and erasure. The film advocates for a more nuanced and respectful way of remembering the past, one that centres the names, lives, and inherent dignity of Indigenous Australians, thereby transforming how their stories are told and preserved for future generations.

The film delves into a specific, troubling moment in Australian history, focusing on the Australian Museum's 1925 commission of three statues of Aboriginal people. These individuals were presented as ethnographic objects, devoid of personal identity and framed within a colonial narrative of a 'dying race.' The documentary brings to light the dehumanising practices of the era and the subsequent efforts by descendants, like Irene Walker, to challenge these historical representations and restore the dignity of their ancestors.

'Her Name is Nanny Nellie' chronicles Irene Walker's deeply personal quest to reclaim the history of her great-grandmother, Nellie Walker. Commissioned by the Australian Museum in 1925 as part of a display of 'full blood' Aboriginal people, Nellie and two other individuals were exhibited as nameless specimens representing a 'dying race.' Irene's journey involves retracing Nellie's life and reconnecting other families to their ancestors' statues, aiming to re-display them with their rightful names, identities, and dignity.