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Transhumance, nomadisms and migrations

Living beings, in an adaptive strategy to environmental conditions, have had to move at one time or another. In this broad inventory of life we find animal migrations, pastoral transhumance, the migrations of human communities (escapes, exiles, voluntary migrations and migratory imaginaries), nomadic life systems (which have practically disappeared in our world) and territorial explorations (both past and present). For the Walking Arts and Relational Geographies Encounters 2024, we propose to explore all these movements, their differences and their similarities –  in search of what we humans have in common with other living beings.

Instinctive to animals and plants, we humans have adapted to this too, for example, through pendular movement of our livestock to different pastures, gradually creating natural highways used by Neolithic people and deeply influencing European and global culture.

The word “transhumance” comes from the Latin terms “trans” (through) and “humus” (earth), and it means “crossing through the lands, crossing the ground, passing through the terrain”. Deleuze and Guattari present the concept of transhumance in A Thousand Plateaux (1987), as a context for mobility. Transhumance goes beyond physical or geographic nomadism and approaches mobility through philosophical and political ideas of flexibility, fluidity, transience, crossings – the ‘nomadic thought’ as a transformative process.

Our 2024 meeting calls for creations, art proposals and papers on the following topics:

1. Walking as a creative practice: explorations, maps and cartographies

How do we know the environment, how do we construct its image and which powers have the prerogative to do so?  How creative cartographies are developed (maps, mapping, relations with territory, and representational techniques) with new technological tools? How the present (visual and aural) landscape is created as well as through historical perspectives.

2. Walking as a personal and group experience

We look for proposals that include journeys on foot, as political, religious and cultural walks, and the roles that urbanism and architecture play.

3. Animal transhumances, territories and Art

We look for Artistic projects related to pastoralism, extensive livestock farming and transhumance, which consider the values of the territory, the landscape and the most important characteristics of transhumance.

4. Transhumanities

As extinction or threat of disappearance of some transhumance throughout the world, we look for proposals that reflect artistic visions (and their creators) that have taken these instances into account.

5. Displacements and migrations (voluntary or involuntary)

We look for proposals that reflect artistic visions of exile, forced displacement for political, military or natural reasons, unwanted movements, refugees, climate change, famine, etc.

6. Projections of walking in the area of health and wellbeing

 Walking can contribute to a healthy and resilient environment in places and for people (an imperative after the global C19-crisis), so we seek proposals of artistic interventions that bring awareness to the benefits of walking, be it for exercise, mental health, socialising, or a ‘cleaner environment’

Girona, Spain

corpse road

Also known as corpse way, coffin route, coffin road, coffin path, churchway path, bier road, burial road, lyke-way or lych-way. “Now is the time of night, That the graves all gaping wide, Every one lets forth his sprite, In the church-way paths to glide” – Puck in Midsummer Night’s Dream. A path used in medieval times to take the dead from a remote parish to the ‘mother’ church for burial. Coffin rests or wayside crosses lined the route of many where the procession would stop for a while to sing a hymn or say a prayer. There was a strong belief that once a body was taken over a field or fell that route would forever be a public footpath which may explain why so many corpse roads survive today as public footpaths. They are known through the UK.

Added by Alan Cleaver

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