Analyze

Remember the arrivals of Mā’ohi ancestors who traversed the sea and surged upon the shores. Over generations, many groups explored and peopled te fenua, travelling around the archipelagos by va’a and on bare foot. Te nūna’a Mā’ohi built up the land, and the land built up te nūna’a, with fare, fa’apū, tumu, marae, and stories. Te fenua and te nūna’a shared experiences and developed knowledges, year in, year out, together. 

In other worlds, those we call popa’āwere knowing and being in very different ways. Over time, te popa’ābuilt physical, spiritual, and epistemic walls to imagine a separation between themselves and the land. They dreamed of knowing without relation, and called it “objectivity.” Adrift in the violent nightmares of their mindless fantasies, te popa’ābecame ungrounded. They tried to fill this existential void through stories of supremacism, which they acted out through projects of transoceanic conquest. In their empty confusion, te popa’ācame to te fenua Mā’ohi with greed, envy, arrogance, disease, and weapons of mass destruction. 

Whether through deliberate genocide or oblivious indifference, popa’āarrivals decimated Mā’ohi communities, as local populations fell by 80% to 90%. This formative trauma foreshadowed disasters to come. Te popa’āstole te fenua’s physical wealth on a massive scale, and then imposed a nuclear weapons testing program, bringing radioactive waste, cancer, and other illness. Te popa’ātimed the introduction of mass tourism with atomic testing, to obscure the social, economic, and environmental impacts of the nuclear program. They deceived ta’ata Mā’ohi with empty stories, progressively luring many ta’ata into a modern nuclear-tourism future of individualism, wage labor, cash economies, consumer advertising, broadcast entertainment, artificial scarcity, and nuclear family subdivisions. Te popa’āsought to break the bond between te ta’ata and te fenua. They did not know, this bond cannot be broken. 

The popa’āproject of supremacist colonial modernization is ongoing. But so is the Mā’ohi project of knowing and growing with the land. 

Tahitian language glossary

fare house(s), building(s)

feafea (i) thinking (of, about)

fenua land(s), territory(ies), world(s)

fa’apū garden(s); place(s) for growing crops

nūna’a people, peoples, nation(s)

Mā’ohi Indigenous to French Polynesia

marae ceremonial pavilion(s)

miti salt water; sea(s)

o of

popa’ā the people who think they are white

te the, a, an, some

ta’ata person, people, human(s)

tumu tree(s); root(s)

va’a canoe(s); sailing canoe(s)

Photo: Maupiti lagoon. Text, photo and layout by Teo Akande Wickland. Made with Mā’ohi, Black American, Latinx, queer, feminist and modern/colonial knowledges.

Wickland, Teo Akande. "Feafea i te miti o te fenua ." In 4S Paraconference X EiJ: Building a Global Record, curated by Misria Shaik Ali, Kim Fortun, Phillip Baum and Prerna Srigyan. Annual Meeting of the Society of Social Studies of Science. Honolulu, Hawai'i, Nov 8-11, 2023

Upon entering the Formosa Plastics Group Museum in Taoyuan, Taiwan, the first thing that visitors see is a large piece of wood, kept under a dome of glass. The label at the bottom reads:

This magnificent piece of New Zealand Kauri burl had been buried in the ground for more than fifty thousand years before being unearthed. The timber is a rare hard resin-filled solid wood. This beautifully-shaped burl weighs 8.5 tons, well over the the 6 ton piece held by the British Museum in London, making it unique in the world. In 2002, Chairman Wang Yung-ching came across the Kauri burl in Kaohsiung and was drawn to its strength so much that he decided to make this Kauri burl the centerpiece of his collection. This remarkable piece of wood on display here at the entrance to the museum symbolizes the vitality of the Formosa Plastics Group capable of immeasurable possibilities. and longevity.

I later learned that a burl is considered a tree's natural response to "some form of stress such as an injury or a viral or fungal infection" (Wikipedia). I also looked up the Mandarin translation for burl, which is 瘤 (liú). This term can mean hump, knurl, lump, nubble, or tumor. The latter invokes environmental and health impacts, such as high cancer rates in petrochemical fenceline communities. However, these issues are not addressed in the museum. Instead, the piece of wood is paired with an all-plastic recreation of a New Zealand rainforest in the museum's B1 gift shop. This recreation includes chirping bird sound effects, leaving visitors with a greenwashed first and last impression.

However, one way to capture the ambivalent meaning of the object at the center of the museum is through Kim Fortun's (2019) reflection on "toxic vitalism," a term that describes "the way systems can take on a life of their own, often beyond what experts planned or expected.

The object of this study is to demonstrate with objective data that pollution in Newark is causing real damage. Especially for children, because they suffer from respiratory diseases such as asthma; which is more harmful to a developing organism like a child. It is important that we become aware that pollution damage is real, and that a part of the population that is really affected is the youngest.