Civilisation as we know today was founded on changing the environment around us. In this time and age it is no longer for the sustenance of human life but rather for the ever-growing incentives of economic gain of the few. Over centuries our species got desensitised to the abuse of Earth’s natural resources as it was morally excused by the self-granted notion of human superiority over other forms of life as well as over the “less civilised” (savages, barbarians). The perceived dominion of humanity over nature cemented by Judeo-Christian values in the West justifies the idea of ownership and the right to exploit what one owns - be it a piece of land or other life - people included. At the same time, ownership is the bedrock of our civilisation. It perpetuates into our economic system (capitalism), politics (borders), social interactions (classes), and finally - into our relationship with the living world, which our civilisation views merely as a low-cost resource.
Nature has not only been suppressed under human authority, but also within it. We are taught to suppress our natural instincts and ignore our intuition, which have been labeled superstitious; we learn shame of our naked bodies and their functions. Life in itself has little value unless it is economically useful.
This suppression of nature intrinsically comes with the suppression of the feminine. Women, who before the advent of agriculture had been equal members of hunter-gatherer tribes, were then for many millennia pushed down the social hierarchy to just instruments in ensuring the linear passage of ownership. Surprisingly, civilisation founded on the ownership of land despises the very natural and the wild. Or perhaps, fears it due to its own alienation from the living world. As much as it loathes the natural, it dismisses the feminine (everything instinctive, intuitive, playful or self-determining).
No One’s Land is about finding the archetypical wild femine element within - sensitivity to and wisdom arising from the connection with nature. It can only be accessed when we move past the preached dominion of man and recognize the world as equal.
Through music FREMEN deals with her upbringing in conservative Poland and her middle-class grooming, seeking now answers to what womanhood can be.
