Former senator and Australia’s Ambassador for Women and Girls, Natasha Stott Despoja, will deliver the International Women’s Day address on the opening night of Planet Talks on Friday, March 8.
Located in the new purpose-built venue Frome Park Pavilion, which will seat up to 500 patrons, Planet Talks will run from Friday, March 8 to Monday, March 11 and will feature discussions on hot-button issues including climate change, coal, gender and politics.
After delivering her address on the opening Friday, Stott Despoja, who is the current Chair of Our Watch, will be joined in conversation by journalist Annabel Crabb. Other political and media identities on the bill include Patricia Karvelas and Fran Kelly, who will bring to life their political podcast The Party Room on Saturday, March 9.
Walkley Award-winning cartoonist First Dog on the Moon will feature on the Sunday, as will scientists Brian Pickles, Monica Gagliano and Alex Gaut as part of a discussion on the hidden world of tree communication and plant cognition.
On the final day, a panel discussing climate change and our relationship with meat consumption – Angie Plummer (CEO, Less Meat Less Heat), Cecile Godde (CSIRO scientist) and Matthew Evans (SBS) – will be one to sink your teeth into. A highlight of that day will be a discussion on Adani and the federal government’s love for coal featuring two people who have literally written the book on the subject: Quentin Beresford (Adani and the War on Coal) and Greenpeace CEO David Ritter (The Coal Truth).
The final Monday Planet Talks session is on the movement opposing Equinor’s plans to drill in the Great Australian Bight with Peter Owen (The Wildnerness Society), Jodie Rummer (marine scientist) and Bunna Lawrie (Mirning Elder and Coloured Stone frontman).
The above Planet Talks speakers will join more than 600 artists representing over 40 countries including renowned musical acts such as Angelique Kidjo, Liz Phair, The Original Gypsies, Amjad Ali Khan, Leftfield and DJ Harvey.
Friday, March 8 to Monday, March 11
This article is republished with permission from The Adelaide Review