Aunty Rhoda Roberts AO: A Luminary of Australian Arts and Culture Passes Away
Australia mourns the loss of Aunty Rhoda Roberts AO, a pioneering figure who profoundly shaped the nation’s arts and cultural landscape. Aunty Rhoda, a proud Widjabul Wieybal woman of the Bundjalung Nation, passed away at the age of 66, leaving behind an indelible legacy as the woman who gifted Australia the phrase “Welcome to Country.”
Her life’s work was a relentless dedication to ensuring First Nations creatives were not just present, but front and centre, on Australia’s most significant stages and events. Aunty Rhoda achieved numerous “firsts,” breaking down barriers as the first Aboriginal host on mainstream television, the inaugural head of Indigenous programming at the iconic Sydney Opera House, and SBS’s first Elder-in-residence. Her multifaceted career spanned nursing, creative direction, acting, festival leadership, producing, and cultural advisory, demonstrating an innate talent for nurturing both people and artistic endeavours. In late 2025, Aunty Rhoda was diagnosed with cancer.
Growing Up on Country: Roots of Resilience
Born in Lismore, in the Northern Rivers region of New South Wales, on Bundjalung Country, Rhoda was raised in a large family. Culture was the bedrock of her upbringing, with her great-grandfather being the “last fully initiated man of the Bundjalung.” Her family actively preserved cultural knowledge, including dance and language, defying the restrictive government policies of the era.
Born to an Aboriginal father and a non-Indigenous mother, Aunty Rhoda’s parents navigated a time when interracial marriage required permission from the Protection Board. Her mother instilled in her a belief that a child’s worth was measured by their kinship and place within their community, rather than their skin colour. Her father, Frank Roberts junior, was a pastor and activist, while her mother, Muriel, was a creative and avid reader.
Despite the pervasive racism in Lismore during her youth, where “colour bars” in coffee shops and segregation at the local swimming pool were commonplace, Aunty Rhoda’s parents taught her the importance of defiance. A poignant memory she often shared was her father’s words after witnessing her reaction to a racist remark: “The black isn’t going to go away, you can do anything you want in the world.” This powerful affirmation fuelled her lifelong commitment to fighting injustice.
From Nursing to the National Stage
While her childhood dreams leaned towards writing and journalism, circumstances led her down a different path. Persuaded to pursue nursing, she honed her caring skills from a young age, having already served as a hospital volunteer. In those days, Aboriginal women were often relegated to the role of nurses’ aides, but Aunty Rhoda was determined to become a fully trained general nurse. With her mother’s advocacy, she secured a place in Sydney, proving her capability and earning her general nursing qualification.
After gaining experience nursing in London, she returned to Australia and discovered a passion for acting, studying at Brian Syron’s studio and embarking on national theatre tours. Recognising the critical need for greater Indigenous representation in the arts, she co-founded the Aboriginal National Theatre Trust. Throughout these formative years, her father’s counsel to “give back to your people” remained a guiding principle, leading her to volunteer at Radio Redfern.
Aunty Rhoda’s television career marked a significant milestone. She became the first Aboriginal host on mainstream television with SBS’s First in Line, and later the first Indigenous presenter on a prime-time current affairs program, Vox Populi. For over two decades, she hosted Deadly Sounds, while also writing, producing, and editing documentaries. Her voice also resonated on ABC radio with Awaye! and on television with programs like A Sense of Place and A World of Difference.
Aboriginal Culture on the World Stage
Aunty Rhoda’s involvement in the lead-up to the Sydney 2000 Olympic Games proved to be a defining moment in her career. In 1997, she became the director of the Festival of the Dreaming, an event designed to showcase the richness and diversity of Indigenous Australian culture. She also served as the creative director for the Indigenous segment of the Olympic Games’ opening ceremony, titled “The Awakening.”
Despite facing criticism, Aunty Rhoda was resolute in her vision to place Indigenous artists at the forefront. The Festival of the Dreaming provided an unprecedented opportunity for non-Indigenous Australians to engage with Indigenous culture through music, theatre, dance, literature, film, and visual arts. She famously stated that “No-one had seen Aboriginal Australia and they saw it in all its diversity… They saw the diversity of who we were and who we are, but they saw the excellence of our dance and our story.”
It was during her tenure as artistic director of the Festival of the Dreaming that Aunty Rhoda formalised and coined the term “Welcome to Country.” Inspired by an uncle who had “sung that Country” at the 1973 Nimbin Aquarius festival, she saw the need to establish a formal protocol for welcoming people onto Indigenous lands. She explained that the phrase was not about possession but about co-existence: “It’s not ours. We live with it.” This simple yet profound innovation has become a cornerstone of Australian cultural practice, transforming into the spectacular “Calling Country” ceremony held annually on Sydney Harbour, for which Aunty Rhoda also served as artistic director.
Changing the Narrative: First Nations Programming at the Sydney Opera House
In 2012, the Sydney Opera House recognised Aunty Rhoda’s immense talent by creating a dedicated role for her as the first Head of Indigenous Programming. During her tenure, she was instrumental in establishing key First Nations events, including the Dance Rites competition, hosting the Deadly Voices from the House podcast, and overseeing the stunning illumination of Aboriginal artwork on the Opera House sails, known as Badu Gili. She proudly highlighted the significance of the Opera House being the “first performing arts centre in this country — and indeed the world — that had a dedicated First Nations head of programming.”
Her expertise extended to guiding numerous festivals and events across Australia, including Vivid Sydney, Sydney’s New Year’s Eve celebrations, Parrtjima in Alice Springs, Shine on Gimuy in Cairns, and Boomerang at the Bluesfest in NSW. She spoke of the deep trust placed in her by senior Indigenous figures across the country, who entrusted her with their stories and art, a responsibility she cherished and carried with immense pride.
Personal Triumphs and Tragedies
Beyond her professional achievements, Aunty Rhoda’s life was marked by profound personal experiences. The car accident that tragically impacted her twin sister, Lois, just before her 21st birthday, led Aunty Rhoda to take on the guardianship of Lois’s daughter, Emily, in 1994. At the time, she was married to the late actor Bill Hunter.
The devastating loss of Lois, who went missing and was later found to have been kidnapped and murdered, cast a long shadow. Aunty Rhoda recounted the heartbreak her family endured and the lack of justice that followed, describing her grief as “losing a part of herself.” The story of this profound loss was captured in Ivan Sen’s documentary, A Sister’s Love. She often spoke of survivor’s guilt, finding solace and purpose in her deep connection to her culture, her family, and her passionate work in the arts.
A Legacy of Storytelling and Service
A playwright in her own right, Aunty Rhoda continued to create and inspire even after her cancer diagnosis. She was driven to ensure her cousin Frank Roberts’s story – that of the first Aboriginal man to represent Australia at the Olympics – received its rightful place in history. Her one-woman play, My Cousin Frank, explored the journey of the young man from Cubawee to the 1964 Tokyo Games.
In December, a surprise event was held at the Sydney Opera House to celebrate her life and contributions, organised by supporters who rallied to fundraise and honour her. Returning to her journalism roots, she served as an Elder-in-Residence at SBS, the broadcaster that gave her an early break. She also dedicated her time to the Koori Mail in Lismore, an Aboriginal-owned newspaper that was her father’s dream, serving as its cultural lead.
Aunty Rhoda’s influence extended to numerous boards, and her contributions were recognised with prestigious accolades, including the Helpmann Awards’ Sue Nattrass Award, a Deadly Award for Broadcasting, and an Order of Australia in 2016. She was a true trailblazer, whose legacy will continue to shape how First Nations creatives are recognised and celebrated for generations to come.
Prime Minister Anthony Albanese acknowledged Aunty Rhoda’s “generosity” in enriching Australians’ lives and “enlarging our nation’s understanding.” He stated, “Rhoda made it easier for others to not just follow in her footsteps, but to continue the journey after her final one. That is the power of her legacy and through it, Rhoda will always be with us.”
Minister for Indigenous Australians, Malarndirri McCarthy, a former journalist, recalled Aunty Rhoda as a confidant and mentor, cherishing their final conversation about the pervasive presence of First Nations people across the arts and media sectors.
Aunty Rhoda Roberts AO is survived by her partner Stephen and her children, Jack, Sarah, and Emily. Her passing marks the end of an era, but her spirit and her profound impact on Australia’s cultural tapestry will endure.
