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The U.S. subsidiary of Formosa Plastics Corp (1301.TW) has agreed to pay $7.5 million and to cooperate with plaintiffs to settle an antitrust lawsuit alleging the company and others curbed the supply of a widely used chemical in a scheme to inflate prices. (Scarcella, August 16, 2023)

“When the government of Taiwan planned for the future of Taiwan several decades ago, it focused exclusively on industrially stimulating the economy. It has been promoting that kind of economic growth and development since the 1970s, making it appear as if industrial growth is the only factor to consider with regard to the country’s future. In the name of progress and economic revitalization, state-led industrialization walks hand in hand with private corporations. Together, they compete for the world’s largest petrochemical plants. The industrial development policy of Taiwan is one of the factors in the loss of Taiwan’s coastal wetlands, the subsiding of land from industrial water withdrawal and sand mining, and the increase of toxic air emissions, contaminated water, and toxic buildup of metals in soils (Wu and Wu 171–2). This “macroeconomy” policy ruins bioregions.” (Chang, 2023, p. 171)” 

The Taiwanese Formosa Plastics Corporation (FPC) is the tenth largest petrochemical company in the world. Focused primarily on the production of polyvinyl chloride (PCV) resins (Wu 2022), the FPC is the main subsidiary of the larger Formosa Plastics Group (FPG), a vertically integrated, global conglomerate that owns businesses in biotechnology, electronics, and logistics, among others (Wikipedia 2020). Formosa’s four main subsidiaries (all petrochemical companies) account for an estimated 10 percent of Taiwan’s gross domestic product (Wu 2022). The most important sites for production are Formosa plants in Yunlin County (Central Taiwan), Point Comfort (Texas), and Baton Rouge (Louisiana). Enabled by the shale gas boom discussed above, plants at all three sites are subject to ongoing expansions, including a proposed $200 million plant in Texas, and the $12 billion industrial complex in Louisiana. Formosa also operates a steel plant in Central Vietnam that is the focal point of much local and transnational activism.

Formosa’s current economic and cultural standing is deeply connected to Taiwan's history of industrialization. The Formosa Plastics Corporation and Group were founded by Wang Yung-ching and his brother Wang Yung-Tsai in Kaohsiung in 1954. Born under Japanese occupation, Wang Yung-ching made a living selling and delivering rice as a young boy, and later operated his own rice shop as a teenager. Eventually, Wang transitioned into the lumber business and benefited from market liberalization following the end of Japanese colonial rule (Lin 2016). However, since US military forces destroyed one of his mills during WWII, Wang received $800,000 from USAID, which he used as capital to found Formosa Plastics (Shah 2012). Until his death in 2008, Wang became one of Taiwan’s richest persons and remains widely known as the “god of management” (Huang 2008).

In Taiwan, conglomerates like the Formosa Plastics Group are called guanxiqiye (“related enterprises''), a colloquial term for tightly-controlled, family-owned businesses. According to anthropologist Ichiro Numazaki (1993), the expression emerged from 1970s business discourse and quickly became a self-identifying status symbol for many corporations (Numazaki 1993, 485). Numazaki argues that Chinese trading tradition (emphasizing partnerships) and Taiwan’s vexed relationship to Japan and China contributed to the rise of family-owned enterprises. Daughter Cher Wang has co-founded important businesses outside of the petrochemical sector, including consumer electronics company HTC. However, the Formosa family has also experienced a series of conflicts: in 1996, Wang Yung-Ching expelled his son Winston for extramarital affairs, who later became involved in ongoing efforts to disclose his father’s substantial tax evasion (Offshore Alert 2018). Today, the Formosa Group is in the process of transitioning key positions away from family members (Taipei Times 2021).

Formosa’s operations have further been shaped by Taiwanese politics and cross-strait relations with China. Considered a moderate liberalizer, Wang held close ties to Taiwan’s democratic party, but also continued to push for expansion in the Chinese mainland during his lifetime, often leading to conflicts between Taiwanese and Chinese administrations (Lin 2016, 81). In 1973, Wang’s plans to build a large petrochemical complex in Taiwan were halted by the authoritarian Kuomintang (KMT) government, but following the lifting of martial law in the mid-1980s, Formosa made a second attempt, suggesting to build the complex in the scenic Yilan County (Ho 2014). Rising concerns over petrochemical development and pollution, however, led to mass protests by local residents and fisher people, creating a landmark moment for Taiwan's larger democracy movement (Ho 2014). In face of this opposition, Wang arranged secret trips to mainland China, and later announced that the plant would be built on the island of Haitsang in Xiamen province. Yet, economic sanctions between China and Taiwan, combined with pressure by the nationalist KMT government, eventually led to construction of the vast petrochemical complex in the rural and impoverished Yunlin County in Central Taiwan (Lin 2016, 82).

Ernesto Yerena Montejano, currently a Boyle Heights resident and originally from Imperial County, and his team of fellow artists Arlene Mejorado and Ayerim Leon — complete with friends and families" painted the mura.

It belongs to the Imperial Valley, but was one of 14 California commissions art projects as part of a collaboration between the Governor's Office, CA Dept of Public Health and The Center at Sierra Health Foundation. The commissioning program aimed to raise awareness about Covid19 within the State's hardest hit areas. Each an governmental agency stakeholder in the project along with curators who selected the artist for this mural.

The building's owner, which appears to be a someone poised to sell it soon is also a stakeholder and most importantly, local resident are active stakeholders as they began adding names of family members who died because of Covid on the western corner of the mural unprompted and without explicit instruction or permission.

The mural is located at 739 N. Imperial Avenue in El Centro. It is precariously positioned because although the current owner of the building has promised to protect it for the next 6 months (per Jun 10, 2021), the next owner of the building may cover over the mural. The mural was completed over 1 week by 5+ painters under the direction of  the artist Ernesto Yerena Montejano on May 30, 2021.

It brings together community members to commorate the toll Covid 19 has taken on the community. It provides a public service message to continue masking and thereby taking care of the community. And it adds an element of beauty and artfulness to what was a run-down building exterior

The mural covers the entire side of one building. The background is painted in purples, blue and yellow. One side of the wall is painted "Protege A Nuestra Comunidad!"|"Protect our Community!"

The centerpiece of the mural both figuratively and literally is a beautiful woman (anywhere beteween 20-40yo) in traditional dress with two long strands of brown braided hair holding a bouquet of colorful flowers tied together with a yellow sash. She is wear a face mask to back up the Covid-19 theme.

The flowers she holds is both a reference to the business--"Cynthia's Flower Connection" which has since moved as well as a tribute to the community and their deceased members who died of Covid. One indication is that community members began adding names to the side of the mural as a tribute to lost family members.

This mural is a public-works project commissioned by the State and agencies. It was created by an artist who has ties to the area. It is also meant to be a public health message, another way to reach local residents who have been "locked in"

“Right away we saw how powerful the mural was in bringing people together, especially after this year where we've been locked in and it's been hard to communicate with our community,” he said. Per David Varela, “People are slowly making their way to the mural and are able to mourn a little bit too,” Varela said. “It's really healthy to mourn and I think people are getting a chance to do that through the mural. I knew we'd not only get a beautiful mural, but a powerful message.”

Nanjala Nyabola, a Kenyan journalist and author tweeted: 'There were two anti-police brutality protests in Nairobi today. The one featuring white people made it's way to the US embassy undisturbed. The one led by working class and poor folks ended in teargas and arbitrary arrests.'

On March 25, 2020 the Kenyan government imposed a curfew to limit movement in Nairobi to prevent the spreading of COVID-19. In the ensuing months, the police 'enforced' the curfew by killing as many people as COVID-19 in Nairobi. The police have had a long and bloody history in Nairobi. Missing Voices Kenya have documented the shocking number of people who have lots their lives to police brutality over the years. Although groups in poor neighbourhoods such as Mathare have long held protests against police violence, the recent murder of George Floyd in the US has lent momentum to this movement. Thus, these groups took to the street to walk to the apartment where Yasin Moyo, a 13 year old playing on his balcony was killed by police, to demand that Black lives mattered- everywhere. The protests ended in the police tear gassing protestors.

A separate group comprising of many white protestors marched to the US Embassy to protest extrajudicial killings in the US and Kenya. From reports I have been reading about the protests on Twitter, these groups were left unharmed by the police. It is thus important that we recognize the the situatedness of protests agains police violence in different parts of the world, and the specific histories and contexts that shape each one of them, while recognizing their common themes.