RISING 2025 will showcase a diverse lineup of First Nations artists across public art, music, and dance.

The Melbourne Art Trams project, led by Senior Curator Kimberley Moulton (Yorta Yorta), will honour Ancestral legacy and highlight the role of women in cultural practice.

Public artist Moorina Bonini (Yorta Yorta) will present Matha, a large-scale projection on Hamer Hall reflecting her ties to the Dhungala (Murray) River.

In music, First Frequency will feature electronic artists Kalaji (Nyikina), RONA (Kaytetye), and DJ PGZ (Gunai/Kurnai, Yorta Yorta), exploring Indigenous storytelling through sound.

Meanwhile, Joel Bray Dance will debut Monolith, a contemporary work led by Joel Bray (Wiradjuri), symbolising resistance and endurance.

For Ms Moulton, leading the curatorial team for the Melbourne Art Trams is both an honour and a responsibility.

"We nominated artists based on their dynamic multidisciplinary and community-focused practices, their contribution to Victorian First Peoples cultural revival, and their long-standing respect and recognition in community and the arts sector," she said.

The 2025 program will include a tram dedicated to Wurundjeri leader and artist Beruk (William Barak), alongside works that centre on women's role in regenerative cultural practice.

"The themes that thread through the program are the importance of women in cultural and artistic practice and ideas of shared histories," Ms Moulton said.

Ms Moulton emphasised the significance of showcasing Victorian Aboriginal art in a public space that reaches thousands of people on a daily basis.

"Thousands of people get to connect and appreciate Victorian Aboriginal art via the trams, and it's an opportunity to profile the incredible artists working in the regions and the city," she said.

"It creates conversations and joy, with our communities' voices heard and our culture shared in such a large way."

For Ms Bonini, her work Matha is a deeply personal exploration of connection to Country, particularly the Dhungala (Murray) River.

"The Dhungala is presented as being an integral Place for me, a place of learning, where I am in a constant learning continuum with woka, the Dhungula and my family," she said.

She hopes the projection will offer audiences a deeper understanding of the interconnectedness of First Peoples' relationships with land and water.

"In this worldview, all entities—waterways, land, sky, animals, and people—exist in relation to one another," Ms Bonini said.

Kaytetye DJ and producer RONA, one of the artists performing at First Frequency, draws deep inspiration from Country.

Her set for RISING 2025 will be a journey through deep synth moments and high-energy releases, incorporating field recordings, vocal textures, and spoken word samples.

"I want to honour the name 'First Frequency' by tapping into the vibrations of Country—something you feel, not just hear," she said.

RONA sees electronic music as a continuation of Indigenous storytelling, rather than a fusion of old and new.

"Our culture has always centered innovation and adaptation, so bringing traditional elements into electronic music isn't about 'fusion' but about continuance," she said.

"I use synths like tools for storytelling, layering them with the textures of Country, whether that's field recordings, vocal loops, or percussive sounds that are grounded in movement and story."

First Frequency artist DJ PGZ notes music is both a form of expression and a connection to his community.

"My mob and my identity is a large factor of why I am where I am," he said.

"I am often uplifted by my own family and mob, and that's a key influence and inspiration to my artistry."

With the Melbourne Art Trams, First Frequency, and Monolith, RISING 2025 highlights the strength and evolution of First Nations artistry across visual, sonic, and performative landscapes.

Tickets for RISING 2025 are on sale now.