culture

Throughout her illustrious acting career, Rachel Griffiths has often spoken out against injustice. She discusses power and its abuses, her upcoming ABC series, and how Catholicism informs her feature-length directorial debut, Ride Like a Girl. “I think my faith is aesthetically Catholic, not through any allegiance to Rome. I have no faith in the Catholic structure or any structure that doesn’t include women and is designed to entrench power using secrecy and threat.”

Journalist and activist Mona Eltahawy has dedicated herself to fighting what she calls the most dangerous ideology in the world: patriarchy. “The quickest way for these men in power to show their power, to flex their muscles, is over the bodies of women … History is not linear. Just because we achieve progress in something, it doesn’t mean that it’s going to continue progressing.”

As the Australian Chamber Orchestra’s principal violin, Satu Vänskä teases astonishing music from her centuries-old instrument. But away from the stage, Vänskä’s musical tastes march to a very different beat. “You know what’s really sad? You can go through your whole life without ever hearing ’90s grunge. Not to mention Bach or Mozart. Or 1970s popular music. If we want to keep our art form alive … we try to bring back music in everyday conversation, so you can encounter something and awake that curiosity.”

Exiled from South Africa as a teenager, Lebo M made his way to the US with nothing but his talent. Eventually he escaped poverty and built a career, creating one of cinema’s most iconic and enduring musical moments. “You get driven and get motivated by the fact that where you come from opportunity was zero, and you have an indirect responsibility to be somebody.”

Peter Drew’s posters can be seen on streets throughout Australia, throwing down a challenge to passers-by to consider our national identity. But far from being a strident activist, the artist is happy to question rather than lecture. “You’ve got to approach it with curiosity and the possibility that you might be wrong. There might be something you’re missing. You can’t forgo that possibility and bathe in the certainty of your convictions. You can’t be puritanical, because that is the worst thing of all.”

Five years after her much-lauded The Babadook, director Jennifer Kent has returned with The Nightingale, which tackles Australia’s brutal colonial history. She reveals what drew her to tell this story – and what she thinks of audience reactions to the film’s violence. “The whole point of The Nightingale is what happens when that rage winds down. What are you left with? That to me is the most interesting part of the story: what lies underneath it is a broken heart.”

On their second album, Wild Seeds, Seeker Lover Keeper took a more collaborative approach to songwriting. While the process was challenging, it created a more cohesive record and deepened the three musicians’ friendship. “It’s a real relief when you can relax and lean into that,” says Sarah Blasko. “You don’t have to get everything right or have all the perfect ideas. It’s really nice to see each person take the song forward at a different moment and you can kind of rest in that.”

After releasing three successful albums and winning an ARIA award, indie rock band Art of Fighting all but disappeared. Having returned with their first record in 12 years, Luna Low, they discuss their thoughtful brand of songwriting, their collaborative process and their long hiatus. “Maybe we felt like we’d run our creative course to a point,” says Ollie Browne, “and there was a fear of eroding the artistry even more.”

Back in Australia for a series of concerts around the country, Sydney-born conductor Simone Young discusses her storied career, the jewel-like music of Richard Strauss and the portrayal of women in 19th-century opera. “The composers, however appallingly these women might be treated, clothed these figures in some of the most glorious music ever written. And that’s what Strauss does. Strauss takes these difficult situations and creates compassion for the women in the audience by giving them music that is deeply moving.”