For Australians watching and experiencing the devastation this summer’s bushfire crisis was wreaking across the country, there were many moments of depression, disillusionment with Government-led action and a general feeling of being unanchored.
Along with feelings of anger, sadness and grief, the tireless efforts of emergency service workers and volunteers in getting the fires under control shone a light on the rallying spirit of people in this country. And as more clarity has begun to present itself in the aftermath, the conversation surrounding climate action has never been more fervent.
For artist and songwriter Nainiouman, this last summer was one that – like for many Australians – rocked her emotionally and mentally. Pouring her emotions into her music, she wrote and composed an evocative protest song, ‘Dominion’.
Nainiouman (artist name of Deerubbin-based creative Rachel Shields) has long been a strong advocate not just for community and our First Peoples, but for the environment and a healthy way forward for all of us living and co-existing together.
Working on ‘Dominion’ in late 2018 before completing the process late last year, Nainiouman exerts raw emotion and frustration on the record as she puts the spotlight on the mismanagement of country, particularly the low calibre of response from Australian politicians.
“Unfortunately with all the devastation that [has] occurred, broader Australia and non-Indigenous Australia can understand what it feels like to lose a part of their Dreaming,” she says. ”That’s how it’s been for the last 200 plus years, for First Peoples here. Now they understand why you can’t just say, ‘Get over it’. Now they feel it really deeply.”
Watch: Nainiouman – ‘Dominion’
The cinematic feel of ‘Dominion’ represents the vast range and depth of energies that drove Nainiouman as she connected with community and those helping with the bushfire relief effort over the summer. Initiating a relationship development between cultural fire practitioners and the RFS, Nainiouman has been helping to facilitate progressive conversation around traditional land care.
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“I remember playing it recently to a lady who is in the RFS and is quite high up in the ranks; I ended up going to the headquarters in Sydney, I’m a part of the RFS as well.” she remembers.
“I just thought, ‘I’m going to test this song out on her.’ I didn’t know if it was going to trigger her because she’s been out there with all the big fires. I watched her: she was expressionless in the car and then she said, ‘That was awesome; that expressed what we’re all feeling.’ That helped, to know that it arrived where it was supposed to.”
On the healing nature of ‘Dominion’, Nainiouman reflects on the songwriting process – one that differed to any normal songwriting process, given the events driving it were happening in real time.
“It’s one of those things, you don’t really know what’s happening until it taps you on the shoulder and is speaking to you.” she says.
“If we think about where the song started, being a bit more boundless and ambiguous, to where it arrived and what motivated its arrival, being all the bushfires that broke out, the creation has arrived at where it’s needed to arrive.”
“It’s cathartic!” Nainiouman continues. “This song was the medicine for me.”
“I forced myself to watch absolutely everything that was circulating, and to not be in any sort of dissociation from it. I’m always chipping away at a little change here, a little change there to help country – to walk my talk, so to speak. In doing that and being in the emergency services and helping out in community, having my finger of the pulse of everything that’s going on, that was the medicine.”
The song, released in time for International Women’s Day 2020, is an example of art that has not just creative expression, but an avenue to navigate thoughts and feelings that may not be able to be presented over the course of a simple conversation. As Nainiouman screams and lets the emotion wash over her on ‘Dominion’, the clarity of her message only becomes clearer. We need to be doing more ourselves to ensure that those in charge are kept accountable, and we need to acknowledge that the hear of our country is hurting.
“I know lots of mob who share knowledge are very non-intrusive, very gentle.” she says.
“There’s a constant frustration, people don’t hear you unless you punch them in the face, and then they wonder why you’re so aggressive. Just watching all these years of people not listening or people just coming to you when they want to take something and claim it…all of those emotions, all over those years of growing up and watching, sitting with the old people, seeing how they function, taking their lead in the world. Always meeting people who only know how to hear when you hit them, and choosing not to be that person. I’m a pretty gentle soul in the world. I don’t sing protest songs. All the things that I’ve never sung out loud, I’ve just sang it. I hope it doesn’t hurt people, but it’s like ‘Stop being complacent’!”
Thinking ahead, Nainiouman is continuing to help foster a connection between First Peoples and non-Indigenous Australians in a way that can help build a reciprocated respect and support.
“We can identify the government’s contribution to making country sick, definitely.” she says. “It’s not just up to the government [though] to look after your neighbour, to look after your immediate environment. I won’t accept that. If you can shove a cigarette in your mouth, if you can drink a beer, if you can push a pokie, no. Stop palming it off on other people. We can identify the facts, but it rests on us as well. There’s more of us than there are of them!”
