The water creeps ever closing to the population in Brisbane. (Photo: Supplied, Image Design: Tina Tiller)
The water creeps ever closing to the population in Brisbane. (Photo: Supplied, Image Design: Tina Tiller)

SocietyMarch 5, 2022

Living underwater in Brisbane

The water creeps ever closing to the population in Brisbane. (Photo: Supplied, Image Design: Tina Tiller)
The water creeps ever closing to the population in Brisbane. (Photo: Supplied, Image Design: Tina Tiller)

Meeanjin (Brisbane) is experiencing Australia’s worst floods in a decade. New Zealand expat Tom Doig reflects on what it’s like to live through the torrents.

“Make sure you don’t rent near the river.”

My mum said that to me late last year, after she had congratulated me on getting a job in Meeanjin. 

But of course, my partner Laura and I wanted to live near the Maiwar Brisbane River. It is a gorgeous looping river, an iconic river, a city-defining river. We wanted to live as near to the Maiwar’s sleepy brown waters as possible, really.

So we left Papaioea Palmerston North and seven weeks ago we moved into a gargantuan eight-building apartment complex in West End, named “Riverpoint”. Outside our second-floor apartment, there was a bike trail that ran alongside the Maiwar. At dawn and dusk, it would be packed with dog walkers, joggers and cyclists all clad in activewear, taking advantage of the slightly cooler air, soaking up the birdcall, the scent of eucalypts and the shimmery watery views.

Then on Thursday, February 24, it started raining. Serious tropical rain. No gusts of wind, no sense of being caught up in a wild storm: just vertical, straight-to-the-point rain, single-minded and extraordinarily heavy. At times it was as if there wasn’t any space between the raindrops. There were warnings – over 200mm fell in a day and people started using the term “rain bomb”. But I could still cycle to work at the University of Queensland, so I did.

On Friday, it kept raining. But I rode to work again, and that night, it only seemed a little bit silly to catch a taxi through the downpour to see a movie, and after that, to get drenched walking 10 minutes down the road to a ramen bar. It wasn’t cold, so being soaked to the bone was more a novelty than anything else.

Saturday morning it was still raining, heavier than ever. It was like some kind of magic bottomless cloud had parked itself directly over the city and was tipping itself out, without ever running out of water. (There was a high-pressure front known as a “blocking high” sitting over New Zealand, stopping the “atmospheric river” over the East coast of Australia from dispersing.)

Even so, we cycled through the deluge to the West End Market. Instead of 150 stalls, there were 150 puddles and just one solitary fruit and vege stand. But that’s all we needed. 

On the way back, the water was up over the high tide mark, over the concrete ledge, creeping onto the grassy verge, lapping at the ankles of the complex’s exercise equipment. It was impressive, although by no means alarming. I had seen flooding like this before, in New Zealand and Australia and Cambodia. I texted my brother, who had been living in Meeanjin near the river 11 years ago, the last time it catastrophically flooded.

“Oh memories …” he wrote back. 

The floods hit Meaanjin in Brisbane. (Photo: Tom Doig)

That night, it continued to rain, heavily. Loudly. Consistently. More than 200mm, again. This was the third night in a row of living inside a real-life version of a ‘soothing tropical monsoon’ soundtrack, only it wasn’t soothing anymore. The next morning, we were woken up by a voice coming through our intercom. “Attention residents, the basement carpark is taking on water. If you have a car parked in there, think about moving it now.”

We unlocked our bikes and wheeled them through a lively stream of water. We put on our rain jackets, went outside – and gaped. The river was slowly swallowing the bike path, like a python. There were people everywhere, clutching umbrellas and iPhones, gaping.

Further offshore, the Maiwar wasn’t sleepy anymore. It was ripping along at 10 times its normal speed, carrying barrels, tree trunks, whole pontoons ripped off the moorings of millionaires’ upstream properties. 

As we took pictures of the tops of the exercise equipment, now almost entirely submerged, we got chatting to a 9 News cameraman. He told us he had seen a pontoon washed down the river, with a jetski and a yacht still attached to it.

Back home, the lobby was dark and the lifts weren’t working. Blackout.

We went to the supermarket to buy cans of beans and ice. They were already out of ice. I went to buy some bottled water, but the shelves had been stripped almost bare.

“Oh no,” another customer said through her face mask, “there’s only bougie water left!”

Later that afternoon, I went back down to the carpark; the water was up to my shins. All the cars had gone … except for someone’s silver Mazda. It was sitting there alone in the darkness, water lapping at its doors. I took some creepy footage on my phone: The Blair Witch Carpark. 

An underground carpark in Meaanjin. (Images: Tom Doig)

I’d never been in a non-stop four-day rain storm before. Since the power was out, we had to keep the doors open to keep the apartment cool, so the noise flooded in. The pounding of the raindrops became more and more oppressive.

I tried to read a book to get back to sleep. But the book I was halfway through, Kim Stanley Robinson’s The Ministry for the Future, was a cli-fi novel about worsening climate breakdown. I lay in bed with my headtorch on, gulping valerian herbal sleeping pills and red wine straight from the bottle, and reading Robinson’s description of an “atmospheric river” hitting Los Angeles, causing city-wide flooding, until all of LA was underwater.

I looked out my front door and saw cars floating down the street on a brown wave about three feet high that covered everything … Everywhere I looked was a big sheet of brown water! … So much water! And brown as hot chocolate. And it was still raining cats and dogs too, so it was hard to see very far, and hard to believe what you could see ..

I took another slug of wine.

… ten million people left stranded on all the high points left sticking out, and no food to speak of … as we were paddling around in our kayaks, people were saying to each other, This whole fucking place is gone! Everything is going to have to be torn out! The entire city of Los Angeles is going to have to be replaced.

It added a new and unwelcome layer to my dread. First there was the crisis – which I was living through. It was stressful and scary, but manageable. I mean, it wasn’t manageable – the city wasn’t managing; people were dying – but it wasn’t Hurricane Katrina. But beyond that immediate threat, lurking around the corner of my mind, was the everpresent prospect of the greater coming crisis. Extreme weather chaos, disaster piled on disaster, mass extinction, complete climate collapse. That time in some some broken future when four days of unprecedented rainfall are immediately followed by four more days of unprecedented rainfall. When the whole of our street is submerged in thick brown floodwater, and the only way out is via kayak – and the river is full of splintered pontoons and petrol and sewage. 

The greater coming crisis – it was always there as a possibility, but usually it seemed like an abstraction. Now that possibility felt distinctly less abstract. I could feel that broken future coming for us.

Debris leftover from the floods in Meaanjin, Brisbane. (Photo: Tom Doig)

In four days, 739mm of rain fell. Nearly 75% of Meeanjin’s annual average.

That Monday morning, we emerged blinking and dazed and squinted up at an improbably blue sky. Were things getting back to normal? Laura and I walked out onto Forbes Street – and there was a speedboat floating in the middle of the road, an “Easy Rider” decal on its side.

Checking on the basement, the water was way up the stairs, nearly to the top of the door frame. We got talking to a nice guy who happened to be a civil engineer.

“Don’t go into that water – it’s sewage overflow,” he told us (a day too late, I couldn’t help thinking). “If you’ve got any cuts, you might get hepatitis.”

Suddenly, my left foot felt itchy.

Later in the day I could hear kids below me playing in the sewer water, pushing balls around with sticks. I told them to stop, that it was sewer water; they smiled politely, like I was an uncool reliever teacher, and kept on playing

The next day, I went for a cycle around the city, the bits I could reach. I saw entire ground floors of office furniture being emptied onto the street: : waterlogged bookshelves, computer hard drives, chunks of uprooted astroturf, a forlorn wheelchair. 

I saw a black Hyundai sports car broken down and abandoned, number plates removed wrapped in police tape, sitting in the middle of a closed three-lane bridge like it was late, or early, for a Grand Prix.

I biked 320 vertical metres up Mount Coot-Tha, and from the summit lookout, I saw how Brisbane’s suburbs hugged the river at each and every meandering bend. How full the flood plains were with prestige apartment buildings and millionaire’s houses. They were vulnerable, of course they were.

The traditional owners of this land, the Turrbal and Jagera people, fished on the banks of the Maiwar for 60,000 years. “Meeanjin” means “place of the blue water lilies”. As Margaret Cook notes in A River with a City Problem: A History of Brisbane Floods, the Turrbal and Jagera people built their camps 14 metres above watercourses, to prevent flood damage. Laura and I had gone to the Invasion Day (not Australia Day) rally on January 26, where one of the speakers told the crowd that their ancestors had warned the 19th-century colonists not to build too close to the river, because the Maiwar flooded all the time. They didn’t listen.

Tom Doig stands in a flooded underwater carpark. (Photo: Supplied)

I got chatting to a middle-aged cyclist called Roland, who lived on a steep hill, didn’t get flooded, still had his power on.

“I was here in 2011, and it was worse than this,” he told me. “But in a couple of years, everyone will forget about it again. Developers will keep building luxury riverfront properties, and people will keep paying top dollar for them.”

There were catastrophic “once-a-century” floods in 1974, and again in 2011. These latest ones make it three once-a-century floods in 50 years. And with climate change, the floods are going to keep getting more frequent, more extreme, harder to predict or manage or understand. Zooming right out, most of the world’s cities are built on rivermouths or right on the edges of our now-rising oceans, less than a metre above sea level. Where, in the world, is a sensible place to live in the 2020s?

Laura and I spent the next morning in the basement carpark in our tramping boots, with face masks and inadequate gloves on, trudging through contaminated sludge, helping people empty out their storage cages and make piles of people’s ruined belongings for a tradie in a bobcat to scoop up and dump on the street outside.

The mud was a rich dark chocolatey brown. It smelt like earth and poo and illness, with faint bleach notes.

We picked up ruined photograph albums (“Our Lovely Baby”), ruined bolts of imported Japanese fabric, ruined washing machines, ruined camping gear – you name it, it was ruined. At one point I was hit in the leg by a runaway CD from someone’s ruined CD collection: Deep Forest, World Mix.

The guy tipping out his CDs apologised; he had lost over 300 albums.

I found a child’s Tonka truck, abandoned in the mud, looking not at all up to the task surrounding it.

Keep going!
‘Wheke Fortress is more than an arts initiative,’ says Tokerau Brown (left). (Image: Archi Banal)
‘Wheke Fortress is more than an arts initiative,’ says Tokerau Brown (left). (Image: Archi Banal)

SocietyMarch 4, 2022

It takes a village to build a fortress

‘Wheke Fortress is more than an arts initiative,’ says Tokerau Brown (left). (Image: Archi Banal)
‘Wheke Fortress is more than an arts initiative,’ says Tokerau Brown (left). (Image: Archi Banal)

A new art space for Māori, Pasifika and marginalised communities in central Auckland aims to be more than just an art initiative, as Arizona Leger explains.

There’s something powerful about experiencing revolution in its early stages. And that’s exactly what’s brewing on a street in the 312.

Dressed in the best shades of pinks and pastels, Tokerau Brown (he/they) waits near the block of shops on Trafalgar Street, Onehunga. We greet each other with a Covid-inspired, hugless hello and make our way into Wheke Fortress, a new community arts studio and gallery . 

As we enter a predominantly empty room there’s a shared excitement about two boxes packed with flash new chairs and, on my right, a whiteboard decorated with a large wheke (octopus) swimming amongst several scribbles. 

We sit down, but before I can get a word in Brown, known to most as Toki, leaves for the dairy to grab a water and bhuja mix for our kōrero. 

For a moment, I sit alone in the empty space, surrounded by blank walls, and wonder if this is what it looks like to realise your dreams. Having run a record label and animation studio out of their own whare, Brown and partner Jessicoco Hansell (she/they, also known as Coco Solid) plan for Wheke Fortress to be an environment where emerging creatives feel safe to experiment with their craft and create revolutionary concepts.

Humble beginnings: 172 Trafalgar Street, soon to become Wheke Fortress (Photo: Arizona Leger & Josh Talakai)

Brown returns and we make time for whanaungatanga, or “connection”. The topic of our interview was to learn about Wheke Fortress’s Boosted crowdfunding campaign, which was well on its way to meeting its $50,000 target, but taking time to connect via our ancestors opened the door for an entirely different conversation.

Brown begins to explain his whakapapa. Mum from Otago, dad from several islands in the Cook Islands. He says that “connecting back” is a key part of his story right now. 

Hansell, dressed in overalls and with tattoos protecting her arms, pops in to check on how things are going. I answer the only way I know how – “he uri ahau nõ Te Rarawa me Whakatõhea” – and Hansell raises her eyebrows, an unspoken signal that everything’s tūturu, that we are good to proceed. 

“It’s early days and humble beginnings, but the support that people have shown towards our Boosted account indicates the demand for an ‘actual community space’ instead of ‘imposter community spaces’” Hansell says of the crowdfunding drive that brought Wheke Fortress to life. 

She talks about no longer being guests in art spaces, especially when being in Aotearoa means that these spaces are whenua and birthright. The themes of reclamation and restoration are woven heavily through both their answers to my questions

Hansell has a look in her eye that says she means business. She tells me straight up that if I were a “Palagi journalist” I would’ve been given a “wooden, polite, formal soundbite version of the origin story”. 

“But because you’re tūturu and Pasifika… we’re able to tell you a real story, because we trust that you go and you represent us safely.” I can hear my mum saying “I told you so” after all the times she’s reminded me to start conversations with my pepeha and I’ve been too shy to follow through. This is no longer going to be a simple story about a Boosted campaign.

Now that the fala has been rolled out, I’m eager to learn about the origin of Wheke Fortress. “It’s cos we’re punks,” says Hansell. “Artistically, I think you should be wired for rebellion.”

That assertive look in her eye is back. “You should be looking for the most rare and radical entry point. We are wired for DIY, new models of industry, moving away from colonial white, patriarchal misogynist shit.”

She isn’t finished. 

“And I don’t think it will be perfect. It shouldn’t be, you know? Because we’re giving ourselves the public permission to learn.”

Tokerau Brown, who, alongside Jessicoco Hansell, is building a place for artists from Māori, Pasifika and marginalised communities. (Photo: Arizona Leger & Josh Talakai)

Brown and Hansell take me on a waka through time, sharing the ways in which they have always loved art and how art spaces pick and choose when to love them back. 

What’s undeniable is their determination to ensure that Wheke Fortress carries an intergenerational kaupapa. One where everybody informs each other’s lens, including their way of thinking and way of moving. They’re also clear that Wheke Fortress aims to serve a moment in time rather than last the ages, that they’ll know the kaupapa is working when they see other artists empowered to make similar spaces of their own.

Although both Hansell and Brown have had success as artists, they say the inspiration for Wheke Fortress came from their experience of the Aotearoa arts community failing to create genuine spaces for marginalised artists to explore and exist. 

Brown mentions that he’s reluctant to create pain-filled “trauma art”. Instead of focusing on his culture’s pain, he wants to dream about a future for his people. He’s expanded this dream to include enabling a space where Oceanic narratives, wāhine, LGBTQIA expression and underground creatives of colour can feel safe. A place where they can experience something he never could at a younger age. That space is Wheke Fortress.

Beyond that space of safety, what will come to life within these walls? 

Wheke Fortress will mentor experimental musicians through to the various stages of their craft, provide unique residencies and offer studio space to creatives. Put simply, it’s “a space that everyone can share,” Brown explains before pointing me in the direction of several kaupapa that he admires. On that list, Vunilagi Vou, Moana Fresh, Tautai – all highly-respected community arts spaces. 

He hopes that Wheke Fortress will be less harmonious and more representative. “It’s about getting to be your true self within a space where you are supported.” 

The kaupapa is clear. (Photo: Arizona Leger & Josh Talakai)

Brown talks about a moment when he and two other creatives were vibing off each other because of familiarity, and because they felt safe enough to speak openly and give things a go. Afterwards, he knew that Wheke Fortress was the right kaupapa to believe in because “you got three people feeling safe in their element and all these ideas just pop off. That just never happens for me in other spaces where I don’t feel that support.”

He says the creativity that occurs within a safe space is different. “It’s much stronger. It becomes more revolutionary.”

By this point, our dairy-bought water bottles are at room temperature and the bhuja mix still unopened. The spark that both Hansell and Brown share for the purpose of Wheke Fortress is undeniable. It’s easy to imagine the lives that will flow in and out of these doors once the Fortress launches.

Before we say goodbye, Hansell reminds me that Wheke Fortress is more than an arts initiative. It’s a message to and about gentrification. As a Māngere Bridge, Grey Lynn girl, she’s familiar with the pattern and refuses to be a passive participant in another gentrifying area. 

Wheke Fortress is Hansell’s way of ensuring that Māori, Pasifika and marginalised communities continue to pack the streets of Onehunga.

Our conversation has eliminated the construct of time. What once felt like an empty room has filled itself with stories and hopes for the future. As Brown and Hansell go forth with what they have planned, this “fortress” will see many artists discover, activate and relish in their talents. It’ll become a firm reminder that it’s not just about houses, it’s about having a place to call home. 

While writing this article, Wheke Fortress achieved its Boosted Campaign goal, which will see the team secure over $50,000 to bring this revolution to life. A true testament to the need for more environments where creatives feel safe enough to test, trial and sample their craft. 

As I leave, Brown and Hansell ask me to give a shout out to the local food shops in Onehunga, namely Chic’en Eats and Saltwater Burger. Apparently the fish and chip shop across the road from Onehunga Countdown is hugely slept on.

This is Public Interest Journalism funded through NZ On Air.