Background: Yagan (; c. 1795 - 11 July 1833) was an Indigenous Australian warrior from the Noongar people. He played a key part in early resistance to British colonial settlement and rule in the area surrounding what is now Perth, Western Australia. Yagan was pursued by the local authorities after he killed a servant of Archibald Butler in an act of retaliation after Smedley, another servant of Butler, shot at a group of Noongar people taking potatoes and fowls, killing one of them. The government offered a bounty for Yagan's capture, dead or alive, and a young settler, William Keats, subsequently shot and killed him.
Context: Yagan's head was initially taken to Henry Bull's house. Moore saw it there and sketched the head a number of times in his unpublished, handwritten diary, commenting that "possibly it may yet figure in some museum at home." The head was preserved by smoking.  In September 1833, Governor Irwin sailed for London, partly to give his own account of the events leading up to the killing. This was an unusual measure, especially given his regiment was about to leave for a tour of duty in India. The Colonial Office indicated satisfaction with Irwin's administration of the colony.  Travelling with Irwin was Ensign Robert Dale, who had somehow acquired Yagan's head. According to the historian Paul Turnbull, Dale appears to have persuaded Irwin to let him have the head as an "anthropological curiosity". After arriving in London, Dale tried to sell the head to scientists, approaching a number of anatomists and phrenologists. His price of L20 failed to find a buyer, so he made an agreement with Thomas Pettigrew for the exclusive use of the head for 18 months. Pettigrew, a surgeon and antiquarian, was well known in the London social scene for holding private parties at which he unrolled and autopsied Egyptian mummies. He displayed the head on a table in front of a panoramic view of King George Sound reproduced from Dale's sketches. For effect, the head was adorned with a fresh corded headband and feathers of the red-tailed black cockatoo.  Pettigrew had the head examined by a phrenologist. Examination was considered difficult because of the large fracture across the back of the head caused by the gunshot. His conclusions were consistent with contemporary European opinion of Indigenous Australians. Dale published these in a pamphlet entitled Descriptive Account of the Panoramic View &c. of King George's Sound and the Adjacent Country, which Pettigrew encouraged his guests to buy as a souvenir of their evening. The frontispiece of the pamphlet was a hand-coloured aquatint print of Yagan's head by the artist George Cruikshank.  Early in October 1835, Yagan's head and the panoramic view were returned to Dale, then living in Liverpool. On 12 October he presented them to the Liverpool Royal Institution, where the head may have been displayed in a case along with some other preserved heads and wax models illustrating cranial anatomy. In 1894 the Institution's collections were dispersed, and Yagan's head was lent to the Liverpool Museum; it is thought not to have been put on display there. By the 1960s Yagan's head was badly deteriorated. In April 1964 the museum decided to dispose of it. It arranged burial of the head on 10 April 1964, together with a Peruvian mummy and a Maori head. They were buried in Everton Cemetery's General Section 16, grave number 296. In later years a number of burials were made around the grave. For example, in 1968 a local hospital buried directly over the box, 20 stillborn babies and two infants who died soon after birth.
Question: Did anything else notable happen surrounding the burial?
Answer: In later years a number of burials were made around the grave.

Background: A marching band is a group in which instrumental musicians perform while marching, often for entertainment or competition. Instrumentation typically includes brass, woodwind, and percussion instruments. Most marching bands wear a uniform, often of a military style, that includes an associated school or organization's colors, name or symbol. Most high school marching bands, and some college marching bands, are accompanied by a color guard, a group of performers who add a visual interpretation to the music through the use of props, most often flags and rifles.
Context: Many bands have auxiliaries that add a visual component to the performance. For ceremonial bands, this could be a traditional color guard or honor guard. For drum & bugle corps and corps-style field bands, this could include Dance lines, majorettes, Auxiliary units may be collectively referred to as color guard or visual ensemble.  Auxiliaries may perform as independent groups. In the early 1970s, color guards began to hold their own competitions in the winter (after the American football season, and before the beginning of the summer drum and bugle corps season). These became known as winter guard. There are also numerous dance competitions in the off-season.  The color guard of a marching band or drum and bugle corps may contain sabers, mock rifles, and tall flags. In modern bands, other props are often used: flags of all sizes, horizontal banners, vertical banners, streamers, pom-poms, even tires, balls, and hula hoops or custom built props. The color guard may also employ stage dressing such as backdrops, portable flats, or other structures. These can be used simply as static scenery or moved to emphasize block drill, and are often used to create a "backstage" area to store equipment and hide personnel.  While military color guards were typically male, band color guards tend to be primarily female, though it is becoming more common for men to join as well. A few independent units are all-male. Guard members nearly always wear a special uniform or costume that is distinctive from that of the band, not necessarily matching in design or color. The men's and women's guard uniforms are usually designed in one of two ways: nearly identically, but with gender-specific parts (i.e. skirts) adapted for the use of the opposite sex; or complimentarily, with the two uniforms designed similarly but with variations in color or form. The color guard uniform, especially in a high school marching band, need not be in school colors; in fact, they rarely are. These uniforms are designed to represent a certain aspect of the halftime show, characterize the guard members through costumes, or tell some sort of story, and can thus be in any design or color (a surprisingly common complaint among the high school audience is that guard uniforms and equipment "aren't school colors").  Indoor color guards have become popular within high schools and universities throughout the United States. These groups perform a theme-based show in competitions after the outdoor marching band season ends. Indoor color guard shows are typically performed in school gymnasiums and are adjudicated.
Question: Do they compete any other time of the year?
Answer:
after the American football season, and before the beginning of the summer drum and bugle corps season