Deborah Mailman grew up in Mount Isa. She spent many of her childhood years around the rodeo because her father was a rodeo champion.
Mailman gained interest in acting during high school when she chose to study Drama to avoid doing Business Principles. She found that acting allowed her to express her creative side. When the school started the production of Wizard of Oz, Mailman auditioned for the Wicked Witch of the West but instead she was given the role of Dorothy.
From high school, Mailman travelled to Brisbane to study drama at the university. She found her first year of study difficult because she was constantly changing accommodation but she found support from friends and family, which helped her continue her studies. She graduated from Queensland University of Technology Academy of the Arts in 1992. Since graduating, she has worked in numerous theatre productions as an actor, co-director or co-writer. Mailman has also appeared on television as a presenter on ABC's Playschool and Message Stick, and as an actress in the series The Secret Life of Us. Her film credits include The Monkey's Mask, Follow the Rabbit Proof Fence, Radiance and Dear Claudia, The Third Note.
In 2012 Mailman won Female Actor of the Year at the Deadly Awards.
Hilary Beaton has worked in Australia and overseas as a writer, dramaturg and director for both stage and screen. She has been an Affiliate writer with the Queensland Theatre Company, a lecturer in dramaturgy at the Queensland University of Technology and has been the director of the Queensland Writers Centre.
Wesley Enoch is the eldest son of Doug and Lyn Enoch from Stradbroke Island and is the current  Artistic Director of Queensland Theatre Company. Wesley is a renowned director and writer for the stage. His written body of work includes I Am Eora, The 7 Stages of Grieving (co-written with Deborah Mailman), Little White Dress, A Life of Grace and Piety, Black Medea, The Sunshine Club, Grace and The Story of the Miracle at Cookie's Table, for which he won the 2005 Patrick White Playwright's Award and was short listed for both the New South Wales and Victorian Premier's Literary Award.
After working across several aspects of theatre in Queensland, Wesley became Artistic Director for Kooemba Jdarra Indigenous Performing Arts in 1994, where he directed his own work including Little White Dress (Queensland Performing Arts Centre/Out of the Box Festival), A Life of Grace and Piety (Just Us Theatre Ensemble) and The 7 Stages of Grieving, which toured the London International Festival of Theatre, Melbourne, Tasmania, Adelaide and went on to be re- mounted in Sydney Opera House. Other directing credits include Murri Love (Metro Theatre Brisbane), Changing Time (Salamanca Theatre Company), The Dreamers (Brisbane Festival) and Up the Ladder (Melbourne Workers Theatre, Festival of the Dreaming).
In 1998, Wesley became Associate Artist for Queensland Theatre Company, for which he directed Radiance, Black-ed Up, The Sunshine Club and Fountains Beyond. His other credits in that time include The 7 Stages of Grieving, which toured the Swiss International Theatre Festival, Stolen (Playbox Theatre) and Romeo and Juliet (Bell Shakespeare). He became the Resident Director at Sydney Theatre Company in 2000 and directed Black Medea, The Sunshine Club, Black-ed Up, The Cherry Pickers (2002 UK Tour), and Stolen (Adelaide, Sydney, Tasmania and UK Tour) and remounted The 7 Stages of Grieving.
Following his term at Sydney Theatre Company, Wesley became Artistic Director of the Ilbijerri Aboriginal and Torres Strait Islander Theatre Co-operative in 2003 for which he directed Shrunken Iris and Rainbow's End, and remained on the Board until 2007. In this time, Wesley directed some of the most successful and prolific works in Australian theatre. For Company B, Wesley directed several productions including The Dreamers, Conversations with the Dead, Black Medea (with Malthouse Theatre), and The Sapphires, with Melbourne Theatre Company and which went on to win the Helpmann Award for Best Production and Best New Australian Work and was remounted at the 2005 Sydney Festival.
Wesley also directed the Helpmann Award nominated outdoor event Eora Crossing (Legs on the Wall/Museum of Sydney/Sydney Festival) and Riverland for Windmill Performing Arts, staged at the Adelaide, Perth and Brisbane International Festivals. Wesley's play The Story of the Miracles at Cookie's Table was directed by Marion Potts and staged at Hothouse Theatre Melbourne and the Griffin Theatre in Sydney to critical acclaim.
As Associate Artist at Company B from 2006-2008, Wesley directed Capricornia, Paul, Parramatta Girls (nominated for 2007 Helpmann Award for Best Direction and Best Production), and Yibiyung (with Malthouse Theatre). His more recent work includes Nargun and the Stars (Performing Lines), The Man From Mukinupin (Company B/Melbourne Theatre Company), One Night, the Moon (Malthouse Theatre) and a revival of The Sapphires (Company B/Black Swan Theatre Company).
Over several years, Wesley worked with Tom Wright in the development of a play about Indigenous soldiers of World War I. Black Diggers premiered at the Sydney Opera House in 2014, with an all-Indigenous male cast and was a triumphantly received.
He directed the Indigenous section of the 2006 Commonwealth Games Opening Ceremony, is a member of the Hothouse Theatre Artistic Directorate, a Trustee of Sydney Opera House, a member for the New South Wales Government Arts Advisory Council and numerous other Committees. In 2008 Enoch was the Artistic Director for the Australian delegation to the Festival of Pacific Arts (FOPA) and in June 2010 he was appointed as the Artistic Director for the Queensland Theatre Company, a position he still holds in 2018.
In 2018, he gave the Nick Enright Address at the National Playwrighting Festival.
Kim Scott is a multi-award winning Indigenous author from Western Australia. He grew up near Albany, in southern Western Australia, then on leaving school completed a Bachelor of Arts Degree and a Graduate Diploma in Education at Murdoch University, in Perth. He initially worked as a secondary school teacher and later turned to writing full-time.
Scott began working on his first novel, the semi-autobiographical True Country (1993), whilst teaching at a remote Aboriginal community in the Kimberley region of Western Australia. Since then he has gained widespread critical acclaim for the way in which his writing explores questions of identity, race and history, and also for his interest in finding ways that Indigenous people might connect their ancient heritage to contemporary life. His friend John Fielder has written that Scott "is an important figure in Australia today because of his creative quest to open up new and different ways of 'being black', and to provide a language for that which is otherwise un-utterable".
In 2000, Scott became the first Indigenous author to win the Miles Franklin Literary Award, with his novel Benang: From the Heart (1999). In 2011 he won both the Miles Franklin and the Australian Literature Society’s Gold Medal with That Deadman Dance (2010). He was a guest speaker at the 2001 Century of Federation Alfred Deakin Lecture Series in Melbourne. He presented at the 2004 Melbourne 'Globalisation and Identities' forum. He has been a member of the Aboriginal and Torres Strait Islander Arts Board of the Australia Council. In 2012 he was made a Fellow of the Australian Academy of the Humanities and also named West Australian of the Year.
Since completing a PhD in Creative Writing at the University of Western Australia in 2009, Scott has been involved with the Curtin Health Innovation Research Institute and also the Wirlomin Noongar Language and Story Project. Scott was appointed Professor of Writing in the School of Media, Culture and Creative Arts of Curtin University in December, 2011. He is a member of The Centre for Culture and Technology (CCAT), leading its Indigenous Culture and Digital Technologies research program.
Richard Green's mother was an Irish woman and his Aboriginal father was a Dharug man from the Blue Mountains in New South Wales. At age four, Green moved to New Zealand with his Mother and Stepfather. Later in his life Green returned to Australia to reconnect with his Aboriginal culture.
According to Green he 'has survived hardship, drug addiction and imprisonment.' In prison he met the film director Kriv Stenders who encouraged Green to audition for the role of Jack in a Jim McNeil play. Securing the role of Jack launched Green's acting career and he also describes the experience as one of 'two major turning points' in his life. The other turning point being in 1991 when Green was in a coma for several weeks as a result of which he 'spent the next two years learning to walk and talk again.'
Richard Green has been a presenter for Koori radio and as well as acting singing and writing, he has also 'taught the Dharug language to hundreds of schoolchildren.' Source: http://www.youtube.com/ (Sighted 27/01/10)
Keiji Sawada is a Japanese scholar in literature and humanities. He also translated texts into Japanese. In 1996 Sawada was resident at the Centre for Performance Studies, University of Sydney. In 2016, he was awarded the Australia-Japan Foundation Publication Award to research and produce an academic book on 'Australian Indigenous People and Performance'.
Professor Anita Heiss is a member of the Wiradjuri nation of central New South Wales and is one of Australia’s most prolific and well-known authors of Aboriginal literature. She has a PhD in Communication and Media which resulted in a history of Indigenous publishing titled Dhuuluu-Yala : To Talk Straight. Other published works include the historical novel Who Am I? : The Diary of Mary Talence : Sydney, 1937, the Macquarie PEN Anthology of Aboriginal Literature, which she co-edited with Peter Minter.
In 2007 Anita released three titles: the novel Not Meeting Mr Right, the poetry collection I'm Not Racist, But... : A Collection of Social Observations, and the children's novel, Yirra and Her Deadly Dog, Demon. These were followed by Avoiding Mr Right and Manhattan Dreaming in 2008 and 2011 respectively. In 2011, Anita released Paris Dreaming and Demon Guards the School Yard, which was written with the students of La Perouse Public School in Sydney for the award-winning Yarning Strong series. Her novel Tiddas is set in Brisbane and was published in 2014. It was followed by Barbed Wire and Cherry Blossoms in 2016. Anita also edited the anthology Growing Up Aboriginal in Australia, which was released in 2018 by Black Inc.
In 2004 Anita was listed in the Bulletin magazine’s 'Smart 100'. Her memoir Am I Black Enough for You? was a finalist in the 2012 Human Rights Awards and she was a finalist in the 2013 Australian of the Year Awards (Local Hero). Anita has made guest appearances on many television programs including the Einstein Factor, Message Stick, Vulture, Critical Mass, A Difference of Opinion (all ABC), The Catch Up (Channel 9), Living Black (SBS), The Gathering (NITV), 9am with David and Kim and The Circle (both Channel 10).
Anita is a sought after public speaker and performer, delivering keynote addresses at universities and conferences across the USA, Canada, the UK, Tahiti, Fiji, New Caledonia, Spain, Japan, Austria, Germany and New Zealand. She has also presented at Australian Embassies and Consulates in Vienna, Paris, New York, Atlanta and Shanghai. She is an Ambassador for the GO Foundation, Worawa Aboriginal College and the Sydney Swans, and a Lifetime Ambassador for the Indigenous Literacy Foundation.
Anita is a tireless advocate for Aboriginal and Torres Strait Islander writing and has been involved in AustLit's BlackWords project since its inception in 2007.
In 2019, Anita was appointed a Professor of Communications at the University of QLD. She currently sits on the Board of the State Library of QLD.
'Ambrose Mungala Chalarimeri was born at Oomarri Waterhole, King George River in the Kimberley. He lived in the bush until he and his family moved onto Kalumburu Mission formerly known as Drysdale River Mission.
'Chalarimeri worked at Argyle Station as a ringer for which he was paid about twelve pound a month. He also worked at Rosewood, Mount Hart and Silent Grove stations. Like many other Aboriginal people, he liked station life because he could maintain close connections to the bush and hunt on the weekends.
'Because of the Balngarra Native Title Claim, one of the biggest in Western Australia, Chalarimeri became recognised as a traditional owner. Chalarimeri's Country stretches from Kalumburru to Sir Graeme Moore Island and near Wyndham, down to Oombulgurri and west to Drysdale National Park and up to Carson River station.'
Rosemary van den Berg was born at Moore River Native Settlement. Her parents moved to Pinjarra when she was five years old, where they bought a five acre block of land. Van den Berg grew up with five sisters and four brothers. She holds a Bachelor of Arts (English) and a Ph.D. from Curtin University.
Van den Berg has worked for the Department of Aboriginal Affairs in Perth, the Aboriginal and Torres Strait Islander Commission (ATSIC) and the Australian Public Service in the area of Aboriginal Affairs. She has also been a writer and an editor, as well as an historian, a grandmother and an Aboriginal Elder.
Van den Berg is the fourth daughter of Thomas Corbett who was the subject of her book, No Options, No Choice! : The Moore River Experience : My Father, Thomas Corbett, an Aboriginal Half-Caste (1994).
Jared Thomas is an Indigenous author, playwright, poet, and academic. He grew up in Port Augusta on Nukunu country, and his mother's Aboriginal family came from Winton, Queensland.
Thomas holds a Bachelor of Arts, a Graduate Diploma in Creative Writing, and a Masters in Creative Writing from Adelaide University. He has been a freelance journalist, film script editor, and writer, and since, 2006 has lectured in communications, film, literature, and art at the University of South Australia. He has also worked as the Manager of the Indigenous Arts and Culture Division of Arts, South Australia, and has coordinated Nukunu Peoples Council cultural heritage, language, and arts projects.
His first play 'Flash Red Ford' toured Uganda and Kenya in 1999, performed by a Ugandan company. In 2002, his work 'Love, Land and Money' was performed at the Adelaide Fringe Festival. At this time, Thomas began working as Manager of Indigenous Arts and Culture, a role in which he advocated and supported the development and aspirations of South Australian Aboriginal artists.
As well as being a playwright, Thomas began to develop his skills 'as a fiction writer with several short stories and poems being published in anthologies.' (Heiss and Minter 2009). His first novel Sweet Guy published by IAD Press was shorted listed for both the Victorian Premier's Literary Awards and the Festival Awards for Literature, South Australia.With his forthcoming novel Calypso Summer, Thomas was awarded the Kuril Dhagun Indigenous Writing Fellowship in 2013.
David Milroy has been a musician, writer and theatre director. He has worked as a tutor with AbMusic, an Aboriginal Corporation formed in 1986 to support and nurture Aboriginal musicians in Western Australia and was the first Artistic Director of the Yirra Yaakin Nyoongar Theatre from 1995-2003. Milroy's music has featured in films (Blackfellas, Exile and the Kingdom) and as the theme to a number of radio programs (ABC Radio National's Speaking Out program). In Sistergirl and Dead Heart for Black Swan Theatre Company and Perth Theatre Company's production of Wild Cat Falling he provided the musical direction.
Milroy's theatrical involvement has also included writing and directing a number of plays in Perth including including King Hit, 'Runumuk' and One Day in '67.' With Sally Morgan, he co-wrote and directed 'Cruel Wild Woman' and Barking Gecko's production of 'Own Worst Enemy' for the Festival of Perth.
In 2011, David Milroy was nominated for the Western Australian Citizen of the Year Award in the category of Arts, Culture and Entertainment, for his long standing contribution.
Jackie Huggins was awarded the Queensland Premier's Award for Excellence in Indigenous Affairs in 2000, and became a Member in the Order of Australia (AM) for services to the Indigenous community in 2001. These awards highlight her passionate and continuing dedication to the causes of reconciliation, social justice, literacy and women's issues within Indigenous communities.
As Deputy Director of the Aboriginal & Torres Strait Islander Studies Unit at the University of Queensland, Huggins brings a wide experience to her teaching and research. She has been involved in many community, government and educational organisations at local, state and national levels, ranging from reconciliation and Aboriginal welfare forums to continuing appointments on editorial and performing arts boards. A leading Indigenous academic, Huggins is known internationally for her work as an author, historian and activist. The University of Queensland honoured this work in 2006 by awarding Huggins an honorary doctorate and in 2007 she was named University of Queensland Alumnus of the Year.
Huggins has also been Adjunct Professor in the School of Social Work and Human Services at The University of Queensland, spokesperson for the Recognise campaign, co-chair of Reconciliation Australia, chair of the Queensland Domestic Violence Council, a member of the National Council for Aboriginal Reconciliation and the AIATSIS Council, and co-commissioner for Queensland for the Inquiry into the Separation of Aboriginal Children.
Huggins has written widely on issues of concern to Indigenous communities, including challenging articles on the relationship between Indigenous women and feminism. In 1993 she was commissioned to write a play for the then Contact Youth Theatre (Aboriginal Program). Entitled 'Maarkkings', a story about history, adaptation and survival, the play was performed in Amsterdam (The Netherlands), Copenhagen (Denmark) and other parts of Europe. The theatre company has evolved into the very successful Kooemba Jdarra Indigenous Performing Arts organisation which brings Indigenous issues to mainstream theatres and schools. Huggins remains on the board of Kooemba Jdarra.
The highly regarded auto/biography of her mother, Auntie Rita (1994), which she co-authored with Rita Cynthia Huggins, was published in 1994. A collection or her political writings, Sister Girl, appeared in 1998.
Jackie Huggins was conferred an honorary degree of Doctor at Central Queensland University in 2017.
Linda Burney, one of the Stolen Generation of Aboriginal children, grew up in Whitton, New South Wales. She received her Diploma of Teaching from the Mitchell College of Advanced Education and then began teaching in western Sydney in 1979. In the mid-1980s, Burney 'became involved in the New South Wales Aboriginal Education Consultative Group (AECG) and helped set up the national body, the Australian federation of AECGs, in 1990-1991. She was also instrumental in the development and implementation of the first Aboriginal education policy in Australia for the state's education department. In the early 1990s Burney was, concurrently, president of the national body of AECGs, and chair of the New South Wales National Aboriginal and Torres Strait Islander Education Policy Coordinating Committee ... She has been a Member of Aboriginal and Torres Strait Islander Commission National Social Justice Taskforce and an Executive Member of the Council for Aboriginal Reconciliation.'
In 2003, Burney became the first Aboriginal person elected to the New South Wales Parliament. After representing Canterbury in the NSW Parliament for fourteen years, she was elected federal member for Barton in 2016, becoming the first Aboriginal woman to serve in the Australian House of Representatives. Following her election to the House of Representatives, she was appointed Shadow Minister for Human Services. She has held senior positions in the non-government sector serving on a number of boards, including SBS, the NSW Anti-Discrimination Board, and the NSW Board of Studies.
Stan Grant's father was a Wiradjuri man and his mother was a Kamilaroi woman. Grant's childhood was spent travelling from place to place while his father searched for work. When his family moved to Canberra they stayed there and he was able to stay in school. While a young man, Grant spoke with Marcia Langton who helped him to realise that he could dream, and that his dreams could become real.
With Langton's encouragement, Grant attended the University of New South Wales where he studied politics and sociology. After university, he was a cadet at the Macquarie Radio network. As a well-known journalist, Grant travelled widely, reporting from the Middle East, Europe, Africa, and Asia. From 1987 to 2001, he worked for the ABC, SBS, and the Seven Network. He has served as political correspondent with the ABC, and has written for various newspapers and been featured widely on radio.From 2001 to 2012, he worked for CNN as an anchor in Hong Kong and then a correspondent in Beijing.
In 2015, Grant published Talking to My Country; in the same year, his coverage of Indigenous affairs was recognised with a Walkley Award.
Jack Leonard Davis grew up at Yarloop, Western Australia. His mother was forcibly removed from her parents, and Davis himself later discovered the details of her family history. Sent to the Moore River Native Settlement to learn farming at the age of 14, Davis' experiences there would later provide a foundation for his dramatic writing. After nine months, he left the Settlement. His father's subsequent death created a family crisis, which led to the first of many jobs for Davis. He has worked as a stockman, boxer, horse-breeder, train driver and truck driver.
While living at the Brookton Aboriginal Reserve, Davis started to learn the language and culture of his people. He was the Director of the Aboriginal Centre in Perth from 1967 to 1971 and became the first Chair of Aboriginal Lands Trust in Western Australia in the same year.
His writing spans the genres of drama, poetry, short fiction, autobiography and critical material, and reflects a lifelong commitment to Aboriginal activism. His work explores such issues as the identity problems faced by Aboriginal youth in contemporary society, the wider sense of loss experienced in Aboriginal cultures, and the clash of Aboriginal and White law.
Davis has won numerous awards and honours, including the The Order of the British Empire - Medal (Civil) in 1976, the Bicentennial BHP Award for the Pursuit of Excellence in literature and the arts in 1988 and the Swan Gold Theatre Award in 1990. Some of his poems were set to music by Chester Schultz in 1984, and he has also received honorary doctorates from Murdoch University and the University of Western Australia.
Jack Davis also made a significant contribution to Aboriginal literary life as a cultural activist and administrator. In the 1980s, he co-founded the Aboriginal Writers, Oral Literature and Dramatists' Association, was a member of the council of the Australian Institute of Aboriginal Studies and the Aboriginal Arts Board. Davis was named a Living Treasure in 1998.
Jack Davis' sister Dot Collard appeared in his play 'No Sugar', which was a great success and was performed in Vancouver for the Expo '86.
Bobby McLeod belonged to the Monero people through his father and to the Tomakin Wandandian and Yuin people through his mother. He was an Aboriginal leader, poet, singer, songwriter, activist and teacher. Bobby founded and directed the Doonooch Programs and the Doonooch Dance Company.'
In 2000 Bobby McLeod was made a Fellow of the Australian Council for the Arts, Aboriginal and Torres Strait Islander Arts Board and his last album, Dumaradje was nominated for Best World Music Album at the 2005 ARIA awards. In 2008, McLeod was a cultural ambassador with the Australian delegation to the Festival of Pacific Arts in American Samoa. Source : Ngudjung Yugarang : Mother's Heartbeat (2008).
Elizabeth Morgan-Hoffman 'grew up at the Cummeragunja Reserve in New South Wales. She moved to Melbourne in 1971, and started to work with the Aborigines Advancement League (AAL) as Matron of the Gladys Mitchell Youth Hostel. She was ... President of the AAL ... until taking up employment with the League as Director in 1976. She was the Chairperson of the Aboriginal Legal Service ... and the Chairperson of the Aboriginal Housing Co-operative. She also worked with the National Aboriginal and Island Women's Council and the Women's Council at Echuca, and was a member of the Steering Committee of the Aboriginal Housing Board and of the local Aboriginal Land Council. She also worked as a Commissioner with the Aboriginal Development Commission. In the early 1970s, she co-founded the Elizabeth Hoffman House, Aboriginal women's refuge in Melbourne. ... She was one of the 250 women included in the Victorian Honour Roll of Women which was read out in Victoria's Parliament House on 7 May 2001.'
Source: The Australian Women's Register website, www.womenaustralia.info/ (Sighted 15/07/2009)
A Ballardong Noongar woman, Timmah Ball holds a Masters of Urban Planning and a Bachelor of Creative Arts, both from the University of Melbourne.
In addition to her work as a zine maker, she has published in Meanjin, un Magazine, Westerly, Overland, The Lifted Brow (online), Cordite, and the Griffith Review. Her debut collection of poetry was due for publication from Rabbit Poetry in late 2018.
In addition to works individually indexed on AustLit, she also publishes non-fiction and zines exploring social issues such as unpaid labour and unacknowledged class privilege in the arts.
'Senator Aden Ridgeway was born on the Bellwood Aboriginal Reserve near Nambucca Heads in New South Wales and was educated at Bellwood and St John's College, Woodlawn in Lismore. After leaving high school in Year 11 and working for a while as a boilermaker, he spent 14 years in the New South Wales Public Service working his way from park ranger though policy positions to management. During this time he also served on the Sydney Aboriginal and Torres Strait Islander Commission (ATSIC) Regional Council for its first two terms.
For five years, he was Executive Director of the New South Wales Aboriginal Land Council and responsible for its head office, regional offices and the one hundred and eighteen local Aboriginal Land Councils throughout the State. During this time he was responsible for implementing broad-based structural and management reforms. He was a member of both Indigenous Native Title negotiating teams following the Mabo and Wik decisions and was a member of the Council for Aboriginal Reconciliation for its last two years.
Aden joined the Australian Democrats in 1990 attracted by their stance on Indigenous issues, the environment and education and membership involvement in the party structure. He was elected as a Democrat Senator for New South Wales in October 1998. In July 1999, he became only the second Indigenous person to take a seat in the Australian Parliament. He was Australian Democrats' Deputy Leader from April 2001 til October 2002 His portfolio areas have included Arts and Sport, Consumer Affairs, Forestry, Indigenous Affairs, Industry, Small Business and Tourism and Trade and Overseas Development.
Aden has been Chairman of Bangarra Aboriginal Dance Company and a board member of the Tikkun Australia Foundation, the Lumbu Indigenous Community Foundation and a trustee of the Charlie Perkins Children's Trust.'
(Source: www.democrats.org.au and
Rhoda Roberts is a Bundjalung woman of the Wiyebal clan. Her totem is the lizard. Roberts' childhood was spent in Lismore and Sydney.
After leaving school she trained to be a Nurse's Aide and eventually graduated as a registered nurse in 1979. With her nursing qualifications, Roberts travelled overseas to work. When she returned, she became involved in acting, training for three years before getting a job with a theatre company.
Roberts has worked as the Current Affairs Presenter of Vox Populi (SBS-TV), Radio Announcer on various radio programs, Reporter for First in Line, Presenter for Qantas in-flight videos, Artistic Director for the Awakening Ceremony for the Festival of the Dreaming (1997), and Indigenous Cultural Advisor for the Olympic Games in Sydney (2000).
In 2012, Roberts was named Artistic Director of Indigenous progamming at the Sydney Opera House.