October 5, 2025 • 19 mins
This is the grand finale of Season 2, and we are closing with a story that hits straight to the heart. Proud Murrawarri and Filipino artist Dobby steps up to the mic with Fight, a powerful exploration of Country, community, and song.
For Dobby, music is not just about beats and bars. It is a way to speak to his people, honour his roots, and protect what matters most. In this episode, he takes us deep into the role of music as a form of protest, connection, and healing. We hear about the lessons that shaped him, the mentors who believed in him, and the moment he realised that his voice could carry much more than a melody.
From the rhythm of the streets to the sound of the river, Dobby shows us how song can unite generations, inspire change, and keep culture alive. It is both a call to action and a celebration of the fight we all carry in our hearts.
NRMA Insurance, proud supporters of First Nations’ storytelling. Because that’s what a Help Company would do.
Find And Tell is co-production between BlakCast & iHeart Australia.
Hosted by Mundanara Bayles.
Storytellers are Dobby, Micah Kickett and Aaliyah Jade Bradbury.
Show Producer is Phoebe Adler-Ryan & Aaliyah Jade Bradbury.
Theme music, sound design, mix & mastering by Alex Cox.
Special thanks to Mundanara Bayles, Corey Layton, Alyssa Partington, & Aaron Sokolenko.
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
I'd like to begin by acknowledging the traditional custodians of
the lands on which we've recorded this episode, and also
pay respect to the elders and communities of the many
lands where you, our listeners, are joining us. Today we
honor the continuing connection to country culture and story. Hey,
(00:25):
I'm Mondonarabels and welcome to Find and Tell, the podcast
where we hand the mic to the next generation of
First Nation storytellers. Each episode, our storytellers are given a
theme and set loose to find and tell a story
from their world in their voice. The stories are raw,
original and unapologetically black, and today we close the season
(00:50):
with one of the boldest voices in the country, Dobby.
Dobby is a proud Maruwori and Filipino musician for fusing
hip hop with culture, resistance, and heart. Today you'll hear
how Dobby got his name from a Taekwindo teacher who
saw something in him. You hear about the moment at
(01:13):
just fourteen years old, when he realized music could be
a tool for real change. And you'll hear how he's
reclaiming his story, his voice, and his place in the world.
So for the final time this season, this is fight.
Speaker 2 (01:36):
Lately, I've been thinking about how we fight. What does
it mean to fight? I'm not talking about with fists,
but something deeper, the fight for justice, the fight for country,
the fight within. What is the real fight? My name
is Dobby, and this is how I fight. I was
(02:00):
about ten years old when Kim Dalton gave me a name, Dobby.
She was my taekwondo teacher, an incredibly inspiring lightning fast
athlete and a world class competitor. She trained me to
fight with focus, not rage, and when she passed away,
I carried the name she gave me to keep that
(02:22):
spirit alive, so that every time I walk on stage,
she's with me. After we told the story of how
hip hop made its way to our country. Now it's
about who picks up the mic. Dobby isn't just a
(02:43):
stage name. It's a legacy, a name that Kim gave me.
She saw the fighter in every student she had. She
trained me to become a black belt. She was going
to compete at the Athens Olympics in two thousand and four,
and then she became sick. Her dreams were stopped in
(03:04):
its tracks. Diagnosed with cancer of the adrenal Cortex. She
passed away in two thousand and five. I was just
a kid. Everyone loved Kim. It devastated the entire community.
We lost a true fighter. But I carried that name
(03:25):
that she gave me, and I still do. I remember
one morning, while I was getting ready for school, my
friend texted me, Dobby, your song is being played on
ABC Radio right now. I was shocked. I dropped my bag, quickly,
turned on mum's high fire system and tuned in. And
(03:48):
there it was my song on the radio. This could
be the start of something big. I've always dreamed of
being played on the radio, and here I am, fourteen
years old, hearing Bobby playing back to me. The song
finishes and two hosts start talking about it on the air.
Speaker 1 (04:06):
If you know this artist, our number is eight nine
two seven one two three four, please call it.
Speaker 2 (04:11):
I grabbed my phone and dialed the number. Hello, Yes,
this is Dobby. At age fourteen, I couldn't have known
what type of interview this was going to be, and
I certainly didn't know how to handle it.
Speaker 3 (04:24):
Do you believe your music promotes gang violence in Marilla?
Speaker 2 (04:29):
What what do you have to say for yourself? I
didn't have the words. I was just a kid who
loved making beats in his bedroom. At that time, the
perception of hip hop and gang violence was inseparable, and
suddenly I was wearing all those assumptions, whether I liked
it or not, and it didn't stay on the radio.
(04:51):
A few days later, at the local McDonald's, someone recognized me, Hey,
aren't you Dobby. I smiled, Yeah, that's me. I grabbed
my cheeseburger, sat down, and as soon as I took
a bite, they king hit me on the side of
my head no warning. I was swept up in another
(05:11):
world of postcode gang mentality. See At that time, the
music I uploaded at MySpace dot com started to make
its way around my school and then surrounding schools, from
one mobile phone to the next, until it racked up
about twelve thousand plates. And some of those listeners were
people that felt a certain affiliation with their suburban territories.
(05:35):
I was meddling with something I didn't quite understand. It
left me feeling scared, but more so than anything, deflated.
How can the music that makes me feel so good
and fulfilled inside be perceived in such a negative, destructive way?
And this moment right Here is when I realized the
(05:55):
sheer power of music, how it affects people, how it
can provoke people, and maybe how it can provoke a change.
Warrangu River Story is not just an album. It's a warning,
a eulogy, a prayer, a call to action. In twenty nineteen,
(06:21):
the river ran drive, leading to massive fish deaths. An
estimated one million fish died in Minindi. While an independent
panel report found the primary cause to be a sudden
change in climate, many community members believe water mismanagement by
government authorities was to blame. And not just my people,
(06:43):
Mortuary people, not just Brewarrina, but the three million people
that depend on the water in the Murray Darling Basin
were left struggling. So I picked up the mic, not
for applause, but for action.
Speaker 1 (07:00):
Welcome back to find and tell as musician Dobby tackles
the topic the next chapter, Let's get back into it,
as Dobby shares how his journey in music became a
fight for country, culture and community.
Speaker 2 (07:16):
The fight for water is often framed as political, but
obviously it's more than that. It's about life, about culture,
about story, and there's no one who lives that truth
more than my Auntie Lily Shearer. She's the co founder
of Muggelin Performing Arts and someone whose fight has never wavered.
We sat down on Mortalwary Country recently to talk about
(07:37):
the rivers.
Speaker 4 (07:39):
The Baman houses and is the home of our oldest
human made structure in the world. And I know our
fish traps and the creator by Army gave us those
fish traps and eight nations shared it, so that's really
significant for our people. And I often refer to it
as the lens Gate Parliament. People came there, the Waalwan,
(08:04):
the Baram, Binger, the Koma, the Cooler. They shared fish,
but most importantly they shared resources and talk to each
other about the health of the country and how they
were looking after their own lands as well as, you know,
supporting each other as neighbors to ensure their rivers were healthy,
(08:28):
their land was healthy. You know, we all know if
you've got a healthy river and healthy land, then you've
got healthy people. In my lifetime, we drank from that river,
We fish from that river. We ate fish from the river.
I mean we still eat fish from the river, but
(08:50):
they're few and far between. We don't have the ill
tail catfish anymore. We don't have bony brim. We don't
have black brim, don't have the muscles, so you know
everything is connected. And the European car it's really destroying
(09:10):
the Raperian habitat, not only the native fish habitat, it's
the banks of our river. The weeds and that that
I've taken over have destroyed the natural reeds that our
women used for weaving, So you know, it's a whole
ecological relationship. You know, it's so important to our people,
(09:32):
which inspired me to do the festival. Bioma's not no festival.
That was the main reason why I did it, to
applicate and give voice to the river or what I
like to call earth jurispudents, because Mother Earth talks to
us and so does far the sky. But how often
do we listen.
Speaker 2 (09:53):
For Aunt Lily. Caring for culture means standing up to
protect the land and the river through the stories we
tell and the art that we create. The festival brings
people together, sharing stories, dance and music on the banks
of the Barwin, keeping alive the connection to country while
fighting for its future.
Speaker 4 (10:10):
We are looking at different ways to share this story
with not just our mortuary people here on country and
our neighbors. But we want to share this story to
the world. We want to show that we as motuary people,
(10:31):
we've always been smart. Our people made rain. We have
the Montorality rain makers, and the Australian government had them
to Sydney and Melbourne and the mountains in the nineteen
sixty five drought to make rain and they did. You know,
the one newspaper article talks about at Springwood about asking
(10:52):
the rain makers to come back to turn off the
rain and they just said, oh, you know, we can't
do that. We can only make the rain. We don't
know how to stop, and so you know it's not
rare stuffers. Yeah. So you know, our people did these
practices that Western culture would view as art. We see
(11:14):
them as cultural arts. And I'll always advocate for cultural
arts and I never write anything about cultural arts because
culture informs the art. And we sang, we danced, we painted,
we told oral stories. Our people made weapons and tools.
It all is art, weaving. They're all living cultural art forms.
(11:45):
They are all interconnected and connected the same as our
rivers and land is interconnected because where do we get
the implements from. We get them from the land. You know,
we are leaving a legacy for our next generations to
pick up and run with. I'm not going to be
(12:06):
out Moreland performing arts forever. I'm a co founder and
the current artistic director, but my time's coming to an end.
You know, where is the next generation going to take
the stories? How are they going to tell our stories?
Speaker 3 (12:23):
You know?
Speaker 4 (12:24):
I think that's really important, and I do it for
my grandchildren and their children to come and their children
to come, because Mother Earth has to sustain the next generations.
But what legacy are we leaving? What legacy and what
(12:44):
state of our country are we leaving for them? So
that's who I fight for. I fight for the land,
the waterways, for the past, and for the future.
Speaker 2 (13:00):
Music and arts is part of our culture. It holds
instruction for our land and waterways. This is knowledge we've
been sharing for eighty thousand years, from generation to generation.
I'm very blessed to have strong women like her and
Kim in my life. These are the people that remind
us what we're fighting for. Fighting is usually associated with anger,
(13:26):
but I've learned fighting is also associated with love. It's
the mental discipline to know your power and your limits.
It's the persistence to show up over and over again.
We fight for country because we care. We care for language,
for more role models, for Kim, who taught me that
(13:48):
power comes from control, not chaos. And I've been lucky
enough to utilize hip hop as a platform with which
to make a change, help to shed some light on
the truth across so many areas left in darkness. When
I perform on a stage, I am fully present. I
feel like I'm channeling something warrior energy, ancestor energy, energy
(14:12):
that I harness and exert with vigor and urgency. One
of the best concerts I've ever played was to an
audience of two hundred and fifty people, all very white,
no one younger than fifty five. I laid out my
truth Baar, and after the show people were in tears.
Even I broke down during my song Ancestor because I
(14:33):
knew that I wasn't the only person speaking that night.
There's a magic that happens within the process of performance,
from the moment I write the line in my room
to the moment it catapults from my lips to the crowd,
I watch it strike dead center. No matter the size
of the room, one thousand people or ten, I deliver
(14:54):
every word with the same passion I had as a
twelve year old rap fanatic. That's how I'm in my
heart that this was meant for me, because through my music,
the fighting spirit is alive, no matter what the fight is,
whether it be for black lives, live music in Sydney
or for water itself. Music is a powerful tool, and
(15:17):
now I'm using it to speak to that young me,
the one who made songs like Boost, the boy who
was still figuring out what he was doing and didn't
yet know what he had to say. My next project
is about just that. This next album is where I
reconnect with my inner child. We talk about growth, acceptance,
(15:42):
a story that spans across fifteen years of reflection, fear
and self discovery. It's a story of learning to move
forward without leaving yourself behind. It's deeply personal and dedicated
to the late great Kim Dalton. The fight alive.
Speaker 3 (16:02):
Can't be contained. Put pen to paper and wrote your story.
That legacy that you left behind is a lesson for me.
Trouble accepting the news, I feel the pain sitting still
in a room full of people that felt the same.
I know you want us to heal and enjoy our life.
So I feel it's only right to keep your spirit
in my name. That's how I go to live my life.
Speaker 2 (16:22):
I received my Taekwondo black belt from Kim, but the
fight continues in my story and the stories of Annie Lil.
Hip Hop is my stance. It's where I plant my feet,
it's where I breathe, where I speak back. Hip Hop
helped me find my voice when the rivers dried, when
(16:43):
they twisted history, when they killed our people and dismissed
the case, when the government worked to tear down the stage,
I kept playing anyway. And now in this next chapter,
I'm learning how to fight, but quietly to forgive myself
hold that younger version of me close, the scared one,
(17:05):
the proud one, the one who still believes I learned
how to fight from Kim, not with fists, but with purpose,
the real fight. I still fight.
Speaker 3 (17:20):
I still fight.
Speaker 2 (17:23):
I still fight.
Speaker 3 (17:24):
I still fight. I still fight.
Speaker 1 (17:34):
That was Dobby sharing his powerful story about the next
chapter and what it really means to fight. His story
reminds us that music isn't just art. It's action, it's memory,
it's legacy, and it's how we carry the ones who
shaped us into everything we do. He even gave us
(17:55):
a little glimpse into what's next, an exciting new album
that's about reconnecting with the inner child, healing, and stepping
into the full power of identity. And with that, we've
come to the end of season two of Find and Tell.
To our incredible storytellers. Thank you Micah kick It for
(18:17):
showing us how to find freedom in duality, Aliah Jade
Bradbury for honoring the strength of legacy and claiming space
with grace and grit, and Dobby for reminding us that
sometimes the fight is the one that comes from love.
Each of them have gifted us with a story that
(18:37):
is brave and deeply black, reminding us of the power
of truth telling and the beauty in carving out space
where we've long been pushed to the margins. Thank you
for walking this road with us, for showing up with curiosity, compassion,
and open hearts. It's been an honor to share these
(18:58):
yarns with you. Make sure you hit follow in your
podcast app so you don't miss any updates from the
Black Cast podcast Network. We've got more voices to come,
more truths to tell, more stories to find. I'm Ndan
Arabels and this has been find and Tell. Find and
Tell is a co production between iHeart Australia and the
(19:21):
black Cast podcast network. Black Cast empowers First Nations people
and people of color to reclaim their narratives, strength and
cultural identity and contribute to a more inclusive Australia by
showcasing exciting emergent talent from Australian communities
I'd like to begin by acknowledging the traditional custodians of
the lands on which we've recorded this episode, and also
pay respect to the elders and communities of the many
lands where you, our listeners, are joining us. Today we
honor the continuing connection to country culture and story. Hey,
(00:25):
I'm Mondonarabels and welcome to Find and Tell, the podcast
where we hand the mic to the next generation of
First Nation storytellers. Each episode, our storytellers are given a
theme and set loose to find and tell a story
from their world in their voice. The stories are raw,
original and unapologetically black, and today we close the season
(00:50):
with one of the boldest voices in the country, Dobby.
Dobby is a proud Maruwori and Filipino musician for fusing
hip hop with culture, resistance, and heart. Today you'll hear
how Dobby got his name from a Taekwindo teacher who
saw something in him. You hear about the moment at
(01:13):
just fourteen years old, when he realized music could be
a tool for real change. And you'll hear how he's
reclaiming his story, his voice, and his place in the world.
So for the final time this season, this is fight.
Speaker 2 (01:36):
Lately, I've been thinking about how we fight. What does
it mean to fight? I'm not talking about with fists,
but something deeper, the fight for justice, the fight for country,
the fight within. What is the real fight? My name
is Dobby, and this is how I fight. I was
(02:00):
about ten years old when Kim Dalton gave me a name, Dobby.
She was my taekwondo teacher, an incredibly inspiring lightning fast
athlete and a world class competitor. She trained me to
fight with focus, not rage, and when she passed away,
I carried the name she gave me to keep that
(02:22):
spirit alive, so that every time I walk on stage,
she's with me. After we told the story of how
hip hop made its way to our country. Now it's
about who picks up the mic. Dobby isn't just a
(02:43):
stage name. It's a legacy, a name that Kim gave me.
She saw the fighter in every student she had. She
trained me to become a black belt. She was going
to compete at the Athens Olympics in two thousand and four,
and then she became sick. Her dreams were stopped in
(03:04):
its tracks. Diagnosed with cancer of the adrenal Cortex. She
passed away in two thousand and five. I was just
a kid. Everyone loved Kim. It devastated the entire community.
We lost a true fighter. But I carried that name
(03:25):
that she gave me, and I still do. I remember
one morning, while I was getting ready for school, my
friend texted me, Dobby, your song is being played on
ABC Radio right now. I was shocked. I dropped my bag, quickly,
turned on mum's high fire system and tuned in. And
(03:48):
there it was my song on the radio. This could
be the start of something big. I've always dreamed of
being played on the radio, and here I am, fourteen
years old, hearing Bobby playing back to me. The song
finishes and two hosts start talking about it on the air.
Speaker 1 (04:06):
If you know this artist, our number is eight nine
two seven one two three four, please call it.
Speaker 2 (04:11):
I grabbed my phone and dialed the number. Hello, Yes,
this is Dobby. At age fourteen, I couldn't have known
what type of interview this was going to be, and
I certainly didn't know how to handle it.
Speaker 3 (04:24):
Do you believe your music promotes gang violence in Marilla?
Speaker 2 (04:29):
What what do you have to say for yourself? I
didn't have the words. I was just a kid who
loved making beats in his bedroom. At that time, the
perception of hip hop and gang violence was inseparable, and
suddenly I was wearing all those assumptions, whether I liked
it or not, and it didn't stay on the radio.
(04:51):
A few days later, at the local McDonald's, someone recognized me, Hey,
aren't you Dobby. I smiled, Yeah, that's me. I grabbed
my cheeseburger, sat down, and as soon as I took
a bite, they king hit me on the side of
my head no warning. I was swept up in another
(05:11):
world of postcode gang mentality. See At that time, the
music I uploaded at MySpace dot com started to make
its way around my school and then surrounding schools, from
one mobile phone to the next, until it racked up
about twelve thousand plates. And some of those listeners were
people that felt a certain affiliation with their suburban territories.
(05:35):
I was meddling with something I didn't quite understand. It
left me feeling scared, but more so than anything, deflated.
How can the music that makes me feel so good
and fulfilled inside be perceived in such a negative, destructive way?
And this moment right Here is when I realized the
(05:55):
sheer power of music, how it affects people, how it
can provoke people, and maybe how it can provoke a change.
Warrangu River Story is not just an album. It's a warning,
a eulogy, a prayer, a call to action. In twenty nineteen,
(06:21):
the river ran drive, leading to massive fish deaths. An
estimated one million fish died in Minindi. While an independent
panel report found the primary cause to be a sudden
change in climate, many community members believe water mismanagement by
government authorities was to blame. And not just my people,
(06:43):
Mortuary people, not just Brewarrina, but the three million people
that depend on the water in the Murray Darling Basin
were left struggling. So I picked up the mic, not
for applause, but for action.
Speaker 1 (07:00):
Welcome back to find and tell as musician Dobby tackles
the topic the next chapter, Let's get back into it,
as Dobby shares how his journey in music became a
fight for country, culture and community.
Speaker 2 (07:16):
The fight for water is often framed as political, but
obviously it's more than that. It's about life, about culture,
about story, and there's no one who lives that truth
more than my Auntie Lily Shearer. She's the co founder
of Muggelin Performing Arts and someone whose fight has never wavered.
We sat down on Mortalwary Country recently to talk about
(07:37):
the rivers.
Speaker 4 (07:39):
The Baman houses and is the home of our oldest
human made structure in the world. And I know our
fish traps and the creator by Army gave us those
fish traps and eight nations shared it, so that's really
significant for our people. And I often refer to it
as the lens Gate Parliament. People came there, the Waalwan,
(08:04):
the Baram, Binger, the Koma, the Cooler. They shared fish,
but most importantly they shared resources and talk to each
other about the health of the country and how they
were looking after their own lands as well as, you know,
supporting each other as neighbors to ensure their rivers were healthy,
(08:28):
their land was healthy. You know, we all know if
you've got a healthy river and healthy land, then you've
got healthy people. In my lifetime, we drank from that river,
We fish from that river. We ate fish from the river.
I mean we still eat fish from the river, but
(08:50):
they're few and far between. We don't have the ill
tail catfish anymore. We don't have bony brim. We don't
have black brim, don't have the muscles, so you know
everything is connected. And the European car it's really destroying
(09:10):
the Raperian habitat, not only the native fish habitat, it's
the banks of our river. The weeds and that that
I've taken over have destroyed the natural reeds that our
women used for weaving, So you know, it's a whole
ecological relationship. You know, it's so important to our people,
(09:32):
which inspired me to do the festival. Bioma's not no festival.
That was the main reason why I did it, to
applicate and give voice to the river or what I
like to call earth jurispudents, because Mother Earth talks to
us and so does far the sky. But how often
do we listen.
Speaker 2 (09:53):
For Aunt Lily. Caring for culture means standing up to
protect the land and the river through the stories we
tell and the art that we create. The festival brings
people together, sharing stories, dance and music on the banks
of the Barwin, keeping alive the connection to country while
fighting for its future.
Speaker 4 (10:10):
We are looking at different ways to share this story
with not just our mortuary people here on country and
our neighbors. But we want to share this story to
the world. We want to show that we as motuary people,
(10:31):
we've always been smart. Our people made rain. We have
the Montorality rain makers, and the Australian government had them
to Sydney and Melbourne and the mountains in the nineteen
sixty five drought to make rain and they did. You know,
the one newspaper article talks about at Springwood about asking
(10:52):
the rain makers to come back to turn off the
rain and they just said, oh, you know, we can't
do that. We can only make the rain. We don't
know how to stop, and so you know it's not
rare stuffers. Yeah. So you know, our people did these
practices that Western culture would view as art. We see
(11:14):
them as cultural arts. And I'll always advocate for cultural
arts and I never write anything about cultural arts because
culture informs the art. And we sang, we danced, we painted,
we told oral stories. Our people made weapons and tools.
It all is art, weaving. They're all living cultural art forms.
(11:45):
They are all interconnected and connected the same as our
rivers and land is interconnected because where do we get
the implements from. We get them from the land. You know,
we are leaving a legacy for our next generations to
pick up and run with. I'm not going to be
(12:06):
out Moreland performing arts forever. I'm a co founder and
the current artistic director, but my time's coming to an end.
You know, where is the next generation going to take
the stories? How are they going to tell our stories?
Speaker 3 (12:23):
You know?
Speaker 4 (12:24):
I think that's really important, and I do it for
my grandchildren and their children to come and their children
to come, because Mother Earth has to sustain the next generations.
But what legacy are we leaving? What legacy and what
(12:44):
state of our country are we leaving for them? So
that's who I fight for. I fight for the land,
the waterways, for the past, and for the future.
Speaker 2 (13:00):
Music and arts is part of our culture. It holds
instruction for our land and waterways. This is knowledge we've
been sharing for eighty thousand years, from generation to generation.
I'm very blessed to have strong women like her and
Kim in my life. These are the people that remind
us what we're fighting for. Fighting is usually associated with anger,
(13:26):
but I've learned fighting is also associated with love. It's
the mental discipline to know your power and your limits.
It's the persistence to show up over and over again.
We fight for country because we care. We care for language,
for more role models, for Kim, who taught me that
(13:48):
power comes from control, not chaos. And I've been lucky
enough to utilize hip hop as a platform with which
to make a change, help to shed some light on
the truth across so many areas left in darkness. When
I perform on a stage, I am fully present. I
feel like I'm channeling something warrior energy, ancestor energy, energy
(14:12):
that I harness and exert with vigor and urgency. One
of the best concerts I've ever played was to an
audience of two hundred and fifty people, all very white,
no one younger than fifty five. I laid out my
truth Baar, and after the show people were in tears.
Even I broke down during my song Ancestor because I
(14:33):
knew that I wasn't the only person speaking that night.
There's a magic that happens within the process of performance,
from the moment I write the line in my room
to the moment it catapults from my lips to the crowd,
I watch it strike dead center. No matter the size
of the room, one thousand people or ten, I deliver
(14:54):
every word with the same passion I had as a
twelve year old rap fanatic. That's how I'm in my
heart that this was meant for me, because through my music,
the fighting spirit is alive, no matter what the fight is,
whether it be for black lives, live music in Sydney
or for water itself. Music is a powerful tool, and
(15:17):
now I'm using it to speak to that young me,
the one who made songs like Boost, the boy who
was still figuring out what he was doing and didn't
yet know what he had to say. My next project
is about just that. This next album is where I
reconnect with my inner child. We talk about growth, acceptance,
(15:42):
a story that spans across fifteen years of reflection, fear
and self discovery. It's a story of learning to move
forward without leaving yourself behind. It's deeply personal and dedicated
to the late great Kim Dalton. The fight alive.
Speaker 3 (16:02):
Can't be contained. Put pen to paper and wrote your story.
That legacy that you left behind is a lesson for me.
Trouble accepting the news, I feel the pain sitting still
in a room full of people that felt the same.
I know you want us to heal and enjoy our life.
So I feel it's only right to keep your spirit
in my name. That's how I go to live my life.
Speaker 2 (16:22):
I received my Taekwondo black belt from Kim, but the
fight continues in my story and the stories of Annie Lil.
Hip Hop is my stance. It's where I plant my feet,
it's where I breathe, where I speak back. Hip Hop
helped me find my voice when the rivers dried, when
(16:43):
they twisted history, when they killed our people and dismissed
the case, when the government worked to tear down the stage,
I kept playing anyway. And now in this next chapter,
I'm learning how to fight, but quietly to forgive myself
hold that younger version of me close, the scared one,
(17:05):
the proud one, the one who still believes I learned
how to fight from Kim, not with fists, but with purpose,
the real fight. I still fight.
Speaker 3 (17:20):
I still fight.
Speaker 2 (17:23):
I still fight.
Speaker 3 (17:24):
I still fight. I still fight.
Speaker 1 (17:34):
That was Dobby sharing his powerful story about the next
chapter and what it really means to fight. His story
reminds us that music isn't just art. It's action, it's memory,
it's legacy, and it's how we carry the ones who
shaped us into everything we do. He even gave us
(17:55):
a little glimpse into what's next, an exciting new album
that's about reconnecting with the inner child, healing, and stepping
into the full power of identity. And with that, we've
come to the end of season two of Find and Tell.
To our incredible storytellers. Thank you Micah kick It for
(18:17):
showing us how to find freedom in duality, Aliah Jade
Bradbury for honoring the strength of legacy and claiming space
with grace and grit, and Dobby for reminding us that
sometimes the fight is the one that comes from love.
Each of them have gifted us with a story that
(18:37):
is brave and deeply black, reminding us of the power
of truth telling and the beauty in carving out space
where we've long been pushed to the margins. Thank you
for walking this road with us, for showing up with curiosity, compassion,
and open hearts. It's been an honor to share these
(18:58):
yarns with you. Make sure you hit follow in your
podcast app so you don't miss any updates from the
Black Cast podcast Network. We've got more voices to come,
more truths to tell, more stories to find. I'm Ndan
Arabels and this has been find and Tell. Find and
Tell is a co production between iHeart Australia and the
(19:21):
black Cast podcast network. Black Cast empowers First Nations people
and people of color to reclaim their narratives, strength and
cultural identity and contribute to a more inclusive Australia by
showcasing exciting emergent talent from Australian communities
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