Danny A Flynn
Independent scholar. Former Research Associate at Middlesex University, London UK.
Phone: 07597972183
Address: Hope and Anchor, Port Carlisle, Wigton, Cumbria CA7 5BU
Phone: 07597972183
Address: Hope and Anchor, Port Carlisle, Wigton, Cumbria CA7 5BU
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The five-acre island known as Île de la Passe (translated as Island of the Pass) is situated off the South-East coast of Mauritius, on the north side of the pass into Mahébourg, four and a half kilometres from the mainland. This tiny islet’s strategic location close to the 950-metre-wide pass through the coral reefs and therefore in a position to control maritime movements into the bay and port of Mahébourg meant that in the age of sail it was considered to be a key defence location for the island of Mauritius, and consequently to the Indian Ocean itself. During the French and British colonization of Mauritius from 1721-1968, the Île de la Passe was therefore an important defensive position and fortifications were built there, the remains of many of which are still visible today.
It was in August 1810, during the Napoleonic Wars, that the Île de la Passe took its place in history. The islet was occupied successively by the British and French during the Battle of Grand Port, where 105 British sailors were killed and which resulted in a rare French victory, duly inscribed on the Arc de Triomphe, in Paris thirty years later. In December 1810 the British conquered Mauritius and for much of the 19th century, the Île de la Passe was maintained as a military outpost. By the twentieth century it was only occupied militarily at moments of tension and during World War Two. The British finally granted Independence to Mauritius on the 12th of March 1968.
This paper examines the graffiti produced by soldiers in the form of their names carved into the walls and looks at the carving methods utilized. An analysis is also made of the inclusion of numeric information and certain idiosyncrasies within some of the singular glyphs. Drawing upon archaeological and historical research, evidence of the shifting occupancy of this environment is examined and compared to the way contemporary name tags today share a common aesthetic yet denote unique territorial claims.
This chapter examines viewers’ affective encounters with street art and graffiti, with attention to the critical framework provided by Ranciere (2004) whose work suggests a method for investigating our aesthetic practices of participation (or exclusion) and looking (or not looking). Viewers’ material engagements with street art and graffiti represent a disruption of the expectable order that demonstrates that what we see, according to our usual division of the sensible, could be otherwise – thus revealing the contingency of our perceptual and conceptual order. Our examination of the visual dialogue on just one city wall highlights the temporal, site-specific and participatory elements of graffiti and street art as a form of communication, or visual dialogue. We demonstrate that viewers are not passive recipients of the artist’s intentions, but are instead competent social actors capable of understanding, appreciating, and actively and materially engaging with street art and graffiti.
The five-acre island known as Île de la Passe (translated as Island of the Pass) is situated off the South-East coast of Mauritius, on the north side of the pass into Mahébourg, four and a half kilometres from the mainland. This tiny islet’s strategic location close to the 950-metre-wide pass through the coral reefs and therefore in a position to control maritime movements into the bay and port of Mahébourg meant that in the age of sail it was considered to be a key defence location for the island of Mauritius, and consequently to the Indian Ocean itself. During the French and British colonization of Mauritius from 1721-1968, the Île de la Passe was therefore an important defensive position and fortifications were built there, the remains of many of which are still visible today.
It was in August 1810, during the Napoleonic Wars, that the Île de la Passe took its place in history. The islet was occupied successively by the British and French during the Battle of Grand Port, where 105 British sailors were killed and which resulted in a rare French victory, duly inscribed on the Arc de Triomphe, in Paris thirty years later. In December 1810 the British conquered Mauritius and for much of the 19th century, the Île de la Passe was maintained as a military outpost. By the twentieth century it was only occupied militarily at moments of tension and during World War Two. The British finally granted Independence to Mauritius on the 12th of March 1968.
This paper examines the graffiti produced by soldiers in the form of their names carved into the walls and looks at the carving methods utilized. An analysis is also made of the inclusion of numeric information and certain idiosyncrasies within some of the singular glyphs. Drawing upon archaeological and historical research, evidence of the shifting occupancy of this environment is examined and compared to the way contemporary name tags today share a common aesthetic yet denote unique territorial claims.
This chapter examines viewers’ affective encounters with street art and graffiti, with attention to the critical framework provided by Ranciere (2004) whose work suggests a method for investigating our aesthetic practices of participation (or exclusion) and looking (or not looking). Viewers’ material engagements with street art and graffiti represent a disruption of the expectable order that demonstrates that what we see, according to our usual division of the sensible, could be otherwise – thus revealing the contingency of our perceptual and conceptual order. Our examination of the visual dialogue on just one city wall highlights the temporal, site-specific and participatory elements of graffiti and street art as a form of communication, or visual dialogue. We demonstrate that viewers are not passive recipients of the artist’s intentions, but are instead competent social actors capable of understanding, appreciating, and actively and materially engaging with street art and graffiti.