A new public statue of Archie Roach and Ruby Hunter shows a bright future for Australian monuments
- Written by Bronwyn Carlson, Professor, Critical Indigenous Studies and Director of The Centre for Global Indigenous Futures, Macquarie University
Aboriginal and Torres Strait Islander readers are advised this article contains names and images of deceased people.
Colonial commemorations such as the statues of James Cook or Lachlan Macquarie have become the focus of much contestation, particularly in the annual lead up to January 26.
As authors of the book Monumental Disruptions: Aboriginal people and colonial commemorations in so-called Australia, we are often contacted by media to respond to whether colonial statues have a place in modern Australia.
Such statues create controversy because they often honour people who have dubious histories. Journalist Paul Daley has described such statues as “assorted bastards” who have profited from the dispossession and exploitation of Aboriginal and Torres Strait Islander peoples.
The problem with many statues is they do not represent a shared history. They either represent colonial figures who have harmed Aboriginal and Torres Strait Islander peoples, or they represent a one-sided perspective that erases the other.
This year we were asked to respond to a different kind of monument: a statue of music legends Archie Roach and Ruby Hunter, newly erected in the Melbourne suburb of Fitzroy in November 2024.
An inspirational, unifying force
Archie Roach, a Gunditjmara (Kirrae Whurrong/Djab Wurrung), Bundjalung senior Elder, songwriter and storyteller sadly died in 2022 aged only 66. Anthony Albanese described him as a “brilliant talent, a powerful and prolific national truth teller”.
His partner Ruby Hunter was a Ngarrindjeri woman and pioneering singer-songwriter. She was the first Indigenous woman to be signed to a major record label, and sadly died in 2010.
Both were members of the Stolen Generations – Aboriginal children who were forcibly removed from their families by Australian government authorities as part of the assimilation policy. They met on the street as homeless teenagers.
Their award-winning music took them around the world together. They performed alongside musical greats such as Tracy Chapman, Paul Kelly and Bob Dylan.
They have been described as an inspiration to many, and a unifying force who altered the way white Australia saw itself.
A statue that sits in conversation with community
The statue of Archie Roach and Ruby Hunter was commissioned by the Yarra City Council in partnership with the Wurundjeri Woi-wurrung Cultural Heritage Aboriginal Corporation and Victorian government.
The statue was made by local artist Darien Pullen. The surrounding park space was designed by Melbourne-based architect Jefa Greenaway (Wailwan/Kamilaroi) and landscape architect Paul Herzich (Kaurna/Ngarrindjeri).
Fitzroy’s Atherton Gardens is a culturally significant site that once served as a traditional meeting place. It later became a hub of political activism and resistance for Victoria’s Aboriginal community.
This monument stands in a place rich with history. It is where Archie and Ruby spent meaningful time with their family, and where Archie was reunited with his biological family.
Their son, Amos Roach, emphasised the deep cultural significance of the location: “it’s a place of cultural significance because it was a meeting place, it’s an old camp”.
He also reflected on his personal connection to the park, saying, “I was a parkie baby when I was born … and I still come here”.
The statue stands at street level, embodying an ongoing presence. They are casual, approachable and engaged, as if in conversation with the community.
Positioned to invite interaction, the statue forms a dynamic relationship with both the people who pass by and the place it inhabits.
It is embraced rather than imposed, welcomed and wanted.
While these figures are Aboriginal icons, they are also remarkable individuals who made significant contributions to Australia. Their commemoration carries meaning and connection for all.
Compare it to the Cook statue in Hyde Park on Gadigal Country (Sydney). He is perched high above the observer, arm raised to the heavens in a theatrical “ta-daa”.
Positioned in a location where the man himself never set foot, the text at the base of the statue? make the historically incorrect allegation that he “DISCOVERED THIS TERRITORY, 1770” – something Cook never personally claimed.
A shared future
Rather than erecting monuments to colonial figures who oppressed Aboriginal and Torres Strait Islander peoples, reinforcing a history of injustice and loss, we should instead celebrate a shared vision for the future.
This vision should be built on recognition, respect and the commemoration of those who have made meaningful contributions to Australia.
This statue of Archie Roach and Ruby Hunter honours two individuals who, despite being shaped by the very colonial histories commemorated by other monuments, have profoundly enriched contemporary Australia through their resilience, talent and contributions.
Until recently, commemorations of Aboriginal people were largely confined to the realm of prehistory — portraying them as nameless “Natives” in conflict with settlers, as loyal guides and servants, or as tragic figures labelled “the last of their tribe”.
Like recent statues commemorating Aboriginal figures such as Pastor Sir Doug and Lady Gladys Nicholls, William Cooper, and William “Bill” Ferguson, this statue brings Aboriginal peoples into the present.
It is a powerful recognition of their enduring impact in shaping this nation – one that calls for acknowledgement, respect and inclusion from us all.
Authors: Bronwyn Carlson, Professor, Critical Indigenous Studies and Director of The Centre for Global Indigenous Futures, Macquarie University
