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Marŝarto23 2023

Poor Old Horse

Sonia Overall

Sonia Overall

 
CC-BY-NC: Sonia Overall
Poor Old Horse screenshot
Poor Old Horse screenshot
Poor Old Horse screenshot walking
CC-BY-NC: Sonia Overall
Poor Old Horse screenshot rushes
CC-BY-NC: Sonia Overall
Poor Old Horse screenshots
CC-BY-NC: Sonia Overall
Sandwich, Kent, UK
11 minutes
Free

Writing

Collection · 226 items

Photography

Collection · 131 items

walking as research.

Collection · 177 items

Landscape

Collection · 470 items
Walking piece

Poor Old Horse is a film commissioned for the research project ‘Celebrating the Kentish Hooden Horse’ and the connected national exhibition, ‘Animal Guising and the Kentish Hooden Horse’, with support from Arts Council England, National Lottery for heritage and Canterbury Christ Church University.

The piece explores the relationship of the Hoodening custom to the landscape of its origin through walking and embodied experience, spoken word, and the re-visioning of archival material and traditional music.
It was filmed on location in East Kent in January 2023 and screened in the exhibition from February – June 2023.

The piece can now be viewed online here: https://www.youtube.com/watch?v=yg6BbVp4Erw

Credits

Words written and spoken by Sonia Overall
Hooden Horse performed by James Frost
‘Poor Old Horse’ Sea Shanty sung by Geoff Doel
Tom West voiced by Tony Cooper

Musicians
David Batchelor: percussion
Gerry O’Brien: fiddle
Sonia Overall: recorders, tin whistle, bells
Carol Partridge: hurdy gurdy, concertina, recorder

Filmed, directed and edited by Sonia Overall

APA style reference

Overall, S. (2023). Poor Old Horse. walk · listen · create. https://walklistencreate.org/walkingpiece/poor-old-horse/

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pedestrian acts

By de Certeau: In “Walking in the City”, de Certeau conceives pedestrianism as a practice that is performed in the public space, whose architecture and behavioural habits substantially determine the way we walk. For de Certeau, the spatial order “organises an ensemble of possibilities (e.g. by a place in which one can move) and interdictions (e.g. by a wall that prevents one from going further)” and the walker “actualises some of these possibilities” by performing within its rules and limitations. “In that way,” says de Certeau, “he makes them exist as well as emerge.” Thus, pedestrians, as they walk conforming to the possibilities that are brought about by the spatial order of the city, constantly repeat and re-produce that spatial order, in a way ensuring its continuity. But, a pedestrian could also invent other possibilities. According to de Certeau, “the crossing, drifting away, or improvisation of walking privilege, transform or abandon spatial elements.” Hence, the pedestrians could, to a certain extent, elude the discipline of the spatial order of the city. Instead of repeating and re-producing the possibilities that are allowed, they can deviate, digress, drift away, depart, contravene, disrupt, subvert, or resist them. These acts, as he calls them, are pedestrian acts.

Added by Asli Ozgen-Tuncer
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