Questions & Answers About Deya Dova

Project Background

I am a recording artist, singer and music producer. For 20 years I have sung and recorded live in the landscape. Over the last 4 years I have been exploring the World Energy Grid UVG, the Earths energetic field and have travelled to 33 locations on the Earth’s energy lines around the world, as part of my recording project.

This is an artistic exploration and I travel with my husband, who documents the journey, and my 3 children. These music recordings are my personal expression and artistic interpretation of what I experience deep listening with the land.


Where are you from?

I grew up in Ceduna in the Nullarbor Desert region of South Australia.

I acknowledge and pay respect to the traditional custodians of this area, the Wirangu, Mirning & Kugatha.


What is your ancestry?

I have mixed ancestry. My European lineage traces back to Northern Scandinavia. I have indications from several sources of unacknowledged Aboriginal Australian ancestry which I am in the process of piecing together.

Whilst I am interested in uncovering the full truth of my ancestral history my recording project is not about cultural identification.


What language are you singing in?

These songs arise spontaneously within me and are the personal expression of my connection with spirit and the land.

It is the language of my soul. Translating pure energy in sound through the universal language of music.


What are your thoughts on Cultural Appropriation?

Oxford Dictionaries defines cultural appropriation as “the unacknowledged or inappropriate adoption of the customs, practices, ideas, etc. of one people or society by members of another and typically more dominant people or society.”

We hear a lot of confusion and struggle with the definition of cultural appropriation as we witness it being more and more loosely used within our communities.

An important term when used appropriately to protect any culture from being subtly or grossly exploited.

Having followed the cultural appropriation discourse for the last years we acknowledge that it is an important conversation in better understanding the trauma and wounding that has been caused by colonisation and plays a part in bringing awareness to continued systems of power dynamics and privilege.

When inappropriately used, we have witnessed the term cultural appropriation continues to create a cycle of blame and shame that perpetuates an outdated paradigm of ownership and separation.

A yard stick that continually measures and reinforces a story of oppressed and oppressors.

There is nothing in this conversation that celebrates the transmigratory, cross pollinating and inter-connectedness that is in truth the story of our Human Family.

We believe that this perspective, in the realm of artistic expression needs more of a voice in the conversation –

“The fear of cultural mixing induces social paralysis. We have a new generation who can’t enjoy music, films, food, yoga or anything without having an existential crisis.

But the censoriousness and separatism of this pseudo-progressive politics is a tragedy. It’s a pox on the ideal of universalism. Identity politics constantly mitigates against the old, properly progressive values of sharing and solidarity, of people mixing with and learning from and standing with others.” Brendan O’Neill –The Spectator

We observe that where someone sits in the cultural appropriation conversation directly reflects where they personally sit within their own ancestral reconciliation and healing process.

We see the need for a far greater discernment and care taken when defining what is disrespectful cultural appropriation and what is authentic, creative expression of connection.

I believe, as a Human Family, we are in a process of reunification, remembering our inter-connectivity whilst acknowledging and celebrating our diversity.

This learning process requires great understanding, patience and compassion, whilst being fierce and courageous in following our own authenticity.

My journey, regardless of my identity, is to sing with spirit. And I walk this walk with integrity.

As a singer and recording artist for the last 20 years, I have taught myself music by being in nature. My voice is a direct expression of my inner reality.

I work with spontaneous sound to expresses the energy and feeling that I experience when I sit in a state of deep listening and quiet reverence with the land.

My art and creative inspiration flows from inside of me, and although inspired by, is in no way imitating or mimicking other cultures.

I understand the songs I bring through at these energy centres to be the cymatics and sonic blueprints of the primordial, natural landscape.

I am connecting with an Earth that counts time in billions of years. Epochs of time in which Humans have developed layers of culture through their connection with the environment.

It is inevitable, if I am to be authentic to what I receive in the landscape, that there will be cultural nuances in some of the sounds made as I connect with these ancient lands. This by no means implies imitation.

What we bring to the cultural appropriation conversation is a voice that acknowledges and remembers our collective birth rite to be in connection with and express our connection with spirit and the land.

We experience this when we are with elders. A seeing beyond the surface, to the spirit within, the inclusion of all in the circle of celebration and ceremony, patience and understanding with those still learning and the lightness and matter of fact-ness of spirit embodied in flesh.

In this time of evolution and dire need on the planet, people everywhere are reawakening to this innate spiritual connection. We are remembering that we are far beyond the socialised constructs and shells of our physical identity. We are in a time of spirit becoming seen. And great discernment must be exercised in recognising and kindling this spark for the evolution and survival of our earth and species.