Christopher Columbus discovered the island of Martinique on behalf of Europe during his fourth voyage in 1502. Encyclopedia Britannica writes that it was at this time that the island received its current name, which “is probably a corruption of the Indian name Madiana (“Island of Flowers”) or Madinina (“Fertile Island with Luxuriant Vegetation”), as reputedly told to Christopher Columbus by the Caribs.”
The changing of this unwitting island’s name signified the greater cultural shifts that would rapidly follow. Britannica continues, “the original Carib Indian population disappeared after Europeans arrived, partly as a result of disease, conflicts with the Europeans, and assimilation.” Martinique is a stubborn vestige of the colonial era, as “today people of mixed European and African ancestry account for more than nine-tenths of the population, but the island’s economy is largely controlled by the small proportion of people of European descent.”
The economy has traditionally sustained itself on a cocktail of select agricultural exports and tourism. However, Culture Trip writes that while the island “is well-known for its golden beaches, flourishing vegetation and year-round sunshine, a visit here can also offer much in the way of cultural interest.” They continue to explain, “the contemporary art scene, in particular, is burgeoning thanks to several exciting venues and a theater continuing the legacy of the island’s most famous inhabitant.”
International Public Art Festival (IPAF) contributed to this growing artistic environment. The festival recently visited Martinique to Conclude its 8th edition. This itinerant festival travels the globe, and has ultimately facilitated the realization of “more than 150 murals produced in 4 countries since its creation in 2014,” according to a statement provided by organizers.
Regarding this particular edition, which took place in the island’s chief town of Fort-de-France, the statement explains that “from June 21 to July 1, 2019, fifteen local and international artists were invited to create murals under the theme ‘Flora and Fauna’, using exclusively brushes and acrylic paint.”
International artists who participated in IPAF’s 8th edition included Waone Interesni Kazki (Ukraine), John Wentz(US), Brothers of Light (Israel), Delphyne V (France), Stew (France), Ana Marietta (Puerto Rico), Danae Brissonnet (Canada), Ruben Carrasco (Mexico) alongside local artists such as Hélène Raffestin, Gwladys Gambie, Ford Paul, Amylee. IPAF’s statement says their work was united by a common goal, “dedicated to enhancing the natural and cultural heritage of the island of Martinique. The main aim is to enrich the local artistic life by producing an eco-friendly festival.”
This festival truly is, as they say, “an initiative of a dynamic and multicultural team, which brings together two artists Ruben Carrasco (the founder of the festival), Damien Gillot, and two curators Alla Goldshteyn, Barbara Renault.” The team hosts IPAF with a focus on “the importance of creating cultural bridges and the exchange between artists and the local community.” By taking care to select world-class international talent to paint alongside the virtuosos found on the island itself, IPAF develops a new model for how nations can interact. Their’s is one of collaboration, exchange, and sharing that ultimately results in the previously unfathomable further beautification of the island.
The paintings that resulted from IPAF’s 8th edition are absolutely stunning in their vibrancy. The theme of ‘Flora and Fauna’ highlights the island’s famed, prized attributes. Every work brings its own piece of particular personality, from Gambia’s ode to the island’s unique indigenous plant life to Wentz’s painterly portraiture. These massive walls that now speckle the island remind both residents and tourists of the magic that can happen when different cultures join forces, rather than clash. Of course, the best way to collectively heal is through art.
