This essay employs a qualitative, culturally grounded methodology centred on interviewing Aboriginal and Torres Strait Islander comedians, writers, and performers to understand how Blak humour is used to engage, educate, and empower audiences in Australia. There is very little published research on First Nations Australian humour, despite its significance. I employ ‘Blak’ comedy and humour as an educational tool to facilitate truth-telling and to promote and evoke deeper engagement with, and understanding of First Nations Australian history and culture. Inspired by Destiny Deacon, I embrace ‘Blak’ as a term of self-determination, reflecting authentic First Nations identity. Building on this, I define ‘Blak’ as a distinct comedic genre, emphasising its role in expressing Aboriginal perspectives and resistance. This aligns with my framing of ‘Blak’ as a unique comedic genre, distinct from ‘black comedy’, which traditionally explores morbid themes. Aboriginal humour embraces both ‘Blak’ and ‘Black’ elements, showcasing its depth and cultural specificity. There are also terms used throughout the essay like ‘mob’, ‘our mob’, ‘Blak fullas’ or ‘fullas’, that refer to Aboriginal and Torres Strait Islander people. These are the words and phrases we commonly use to describe and identify ourselves within our communities.