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Walking the Unspoken

Walking the unspoken

This gamified sensory walk by Rosa Inês Soares, invites participants into an embodied dialogue with each other, the landscape, and the often-unseen challenges of navigating the world from different perspectives. Grounded in research and personal experience with disability, the walk explores the intersection of trauma-informed design, somatic movement practices, and socially engaged walking art.
Set along a path that transitions from urban to natural space, the walk is designed for a small to medium group, encouraging connection to place and community. Together, participants begin freely, but as the walk unfolds, subtle, unspoken constraints are introduced—simulating real-world challenges faced by neurodivergent individuals. These embodied obstacles prompt collective adaptation and reflection, transforming walking into an act of witnessing and inclusion.
Checkpoints along the route offer space to pause, reset, and engage in movement-based prompts and group conversations on often-silenced themes such as tokenism, financial strain, or alternative communication. This is not only a space for play and empathy, but also an invitation to reimagine walking as a participatory, political, and sensory practice—shaping how we move together through shared spaces, especially with communities experiencing heightened vulnerability.

Submitted by: Miguel Bandeira Duarte

Supported by

Lab2PT / WALK

Miguel Bandeira DuarteNatacha Moutinho

Walking Arts & Local Communities (WALC) is an artistic cooperation project, co-funded by the European Union, Creative Europe, starting in January 2024 for four years. With seven partners from five countries, WALC establishes an International Center for Artistic Research and Practice of Walking Arts, in Prespa, Greece, at the border with Albania and North Macedonia, backed up by an online counterpart in the format of a digital platform for walking arts.

WALC builds on the previous work of hundreds of artists and researchers already practicing Walking Arts as a collaborative medium, and having met at the significant previous walking arts events and encounters in Greece, Portugal, Spain, France, Belgium, and during online activities at walk · listen · create.

We acknowledge the support of the EU Creative Europe Cooperation grant program in the framework of the European project WALC (Walking Arts and Local Community).

Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.

Free

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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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