On the Polynesian island of Tahiti, there’s mentioned to be one thing akin to a sixth sense — one which belongs to neither males nor ladies. As a substitute, it’s the sole area of the “mahu,” a group acknowledged as being outdoors the normal male-female divide.
“Mahu have this different sense that males or ladies do not have,” mentioned Swiss-Guinean photographer Namsa Leuba, whose pictures from the island are exhibiting at a brand new exhibition in London. “It’s well-known in (French Polynesia) that they’ve one thing particular.”
In Tahiti, mahu are thought-about a 3rd or “liminal” gender, born biologically male however acknowledged by friends as distinct, typically from early of their lives. Their gender id has been accepted on the island since time immemorial, and mahu historically play key social and non secular roles, as guardians of cultural rituals and dances, or suppliers of care for youngsters and elders.
Leuba’s picture collection, “Illusions: The Fantasy of the ‘Vahine’ by Gender Dysphoria,” reveals the variety of gender identities in French Polynesia, the place the photographer spends half her yr.
In a phone interview from Tahiti, Leuba mentioned the extra energy that the Mahu apparently possess is troublesome to explain. It’s, she defined, a combination of empathy, instinct, generosity and creativity — all phrases that may be utilized to Leuba’s wide-ranging images.
Since graduating from the Lausanne College of Artwork and Design (ECAL) in 2010, Leuba has developed an method that mixes parts of documentary images with the wealthy staging of trend shoots. The result’s one thing she calls “docu-fiction.”
Describing herself as African-European (her mom is Guinean and her father is Swiss), Leuba mentioned she goals to mirror, by fiction, realities made invisible when considered by a Western colonial lens.
In 2011, she traveled to the Guinean capital, Conakry, for a mission that will set the tone for her later work. Exploring animist beliefs within the metropolis, she introduced portraits of normal folks — largely strangers she met on the road — to life with elaborate poses and backdrops.
The mission, together with later work throughout Africa, confronted the legacy of colonialism and regarded how Western perceptions have impacted present-day societies. And Leuba developed these concepts additional in Tahiti.
Photos from the collection went on present at an all-female London gallery, Boogie Wall, final yr. The exhibition aimed to point out the complicated gender and sexual identities that exist in Tahiti, immediately attacking stereotypes that depend on exoticism and the sexualization of Polynesian ladies.
Mahu’s conventional creative roles have made them a topic of fascination for visiting artists together with Paul Gauguin, whose 19th-century portraits of younger Tahitians strongly influenced Western impressions of Polynesian tradition whereas portray a controversial image of an unique and sexually permissive paradise.
Central to those stereotypes was the best of the “vahine.” The time period, which interprets merely as “lady,” got here for use within the West to imply submissive women or younger ladies, embodied within the sexualized poses in Gauguin’s work (certainly, he would marry a woman in her early teenagers throughout a go to to the island in 1891).
The portraits are sometimes shot in on a regular basis environment, however through the use of vivid physique paint and stylized costume, Leuba goals to reassert the individuality of her topics. Her pictures additionally embrace individuals who establish as “rae-rae,” trans ladies who, not like many mahu, typically pursue gender reassignment surgical procedure.
“I already knew what I needed to have,” mentioned Leuba. “For me, it was crucial to see (the topic’s) magnificence and the ability — in my footage, it’s totally sturdy look, a powerful posture — and to (enable them to) make themselves stunning”
Leuba interviews her topics for hours earlier than photographing them. Whereas just a few had been cautious at first, having beforehand had uncomfortable experiences with voyeuristic photographers, she mentioned, extra started coming ahead after the primary pictures appeared in magazines in New York.
By use of elaborate staging, Leuba avoids the rawness typical of documentary images. As a substitute, she mentioned her optimistic, glamorous method permits eclectic tales to shine, together with histories of homelessness and battle, together with journeys of acceptance from households and tradition.
“Generally I’d hear some actually (robust) stuff that has occurred to them, and it was completely not horny or glamorous. It was troublesome. And others had been well-accepted by their household and their group,” Leuba mentioned.
“All the ‘lifecycles’ had been completely totally different.”