Pub Date : 2023-01-02DOI: 10.1080/2373566X.2023.2173081
Kate Lewis Hood
This article attends to how contemporary artists Otobong Nkanga and Libita Sibungu work with mineral residues to locate and reimagine Namibian mining geographies among the material durations of colonialism and racial capitalism. Drawing on Black geographies, postcolonial and performance studies, I suggest that Nkanga’s and Sibungu’s respective methods of presencing uneven accumulations and embodied and geological temporalities constitute residual repertoires. From Nkanga’s work at the Green Hill in Tsumeb, to Sibungu’s traversal of diasporic mining geographies between Namibia and the UK, both artists trace mineral circulations through visual, sonic, and performance elements, finding ways to render forces of dispossession, genocide, struggle, and their afterlives (partially) perceptible. This work questions and repurposes institutionalized forms of representation whose visual and archival modes contribute to ongoing corporeal and material extraction. Critically intervening in and seeking to transform extractive geo-aesthetics, Nkanga and Sibungu generate speculative repertoires for other possible futures of mineral proximity.
{"title":"Residual Repertoire: Black Geo-Aesthetics after the Mine","authors":"Kate Lewis Hood","doi":"10.1080/2373566X.2023.2173081","DOIUrl":"https://doi.org/10.1080/2373566X.2023.2173081","url":null,"abstract":"This article attends to how contemporary artists Otobong Nkanga and Libita Sibungu work with mineral residues to locate and reimagine Namibian mining geographies among the material durations of colonialism and racial capitalism. Drawing on Black geographies, postcolonial and performance studies, I suggest that Nkanga’s and Sibungu’s respective methods of presencing uneven accumulations and embodied and geological temporalities constitute residual repertoires. From Nkanga’s work at the Green Hill in Tsumeb, to Sibungu’s traversal of diasporic mining geographies between Namibia and the UK, both artists trace mineral circulations through visual, sonic, and performance elements, finding ways to render forces of dispossession, genocide, struggle, and their afterlives (partially) perceptible. This work questions and repurposes institutionalized forms of representation whose visual and archival modes contribute to ongoing corporeal and material extraction. Critically intervening in and seeking to transform extractive geo-aesthetics, Nkanga and Sibungu generate speculative repertoires for other possible futures of mineral proximity.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"51 1","pages":"45 - 63"},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84734776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/2373566X.2022.2144405
Ruth Raynor, C. Veal
This Introduction to the special issue on “Creative Endings” thinks across intensities and temporalities to consider the force of “endings” in the contemporary political moment: the multiple timespaces within them, endings as temporalities in their own right, experienced forcefully, unequally, and as generative of dynamic emotional resonances. Whilst often stated, endings remain under-theorised in the discipline. Yet endings are a central form through which the assemblage of representations, materialities, structures and the more-than representational are organised in the orchestration and deliverance of political work. This introduction, and the various papers that follow, begin to address the gap in thinking, by introducing intensities and temporalities as ways to work with both the representational and more-than-representational forces of endings, drawing upon examples from contemporary politics. From here, we propose the creative arts, in occupying the threshold of the representational/more-than-representations, as well placed to intervene on endings. We think the creative arts can help us to know, represent, and intervene in various ends within the current political moment, through their attunement, specifically, to liveness, form and feeling.
{"title":"Spectacle of Endings: In an “Endless Present”","authors":"Ruth Raynor, C. Veal","doi":"10.1080/2373566X.2022.2144405","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2144405","url":null,"abstract":"This Introduction to the special issue on “Creative Endings” thinks across intensities and temporalities to consider the force of “endings” in the contemporary political moment: the multiple timespaces within them, endings as temporalities in their own right, experienced forcefully, unequally, and as generative of dynamic emotional resonances. Whilst often stated, endings remain under-theorised in the discipline. Yet endings are a central form through which the assemblage of representations, materialities, structures and the more-than representational are organised in the orchestration and deliverance of political work. This introduction, and the various papers that follow, begin to address the gap in thinking, by introducing intensities and temporalities as ways to work with both the representational and more-than-representational forces of endings, drawing upon examples from contemporary politics. From here, we propose the creative arts, in occupying the threshold of the representational/more-than-representations, as well placed to intervene on endings. We think the creative arts can help us to know, represent, and intervene in various ends within the current political moment, through their attunement, specifically, to liveness, form and feeling.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"13 1","pages":"158 - 169"},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72577592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/2373566X.2022.2147445
Sarah Wright, Joseph Palis, N. Osborne, Fiona Miller, U. Kothari, Karen Paiva Henrique, Phoebe Everingham, Maria Borovnik
During the first year of the COVID-19 pandemic, a group of academic geographers got together across borders to share our varied experiences. In this paper we illustrate how this storying of pandemia helped us critically and collaboratively understand, (re)imagine and reconfigure ways of living during a global pandemic. We were especially interested in exploring different forms and practices of collective thinking and academic labour, within and beyond the academy. This paper foregrounds emotions and lived experiences, power and positionality, natures, bodies, and relations, and how they have come to our attention in new, different, or more pronounced ways, through everyday geographies of pandemia. Our aim is to emphasise two important aspects: that pandemia is a state of being with/as/through pandemic, and, as a collective noun, pandemia centres plurality, focusing on the potential to attend to the ways experiences of pandemic are redolent with multiple, overlapping exclusions and belongings, openings and closures.
{"title":"Storying Pandemia Collectively: Sharing Plural Experiences of Interruption, Dislocation, Care, and Connection","authors":"Sarah Wright, Joseph Palis, N. Osborne, Fiona Miller, U. Kothari, Karen Paiva Henrique, Phoebe Everingham, Maria Borovnik","doi":"10.1080/2373566X.2022.2147445","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2147445","url":null,"abstract":"During the first year of the COVID-19 pandemic, a group of academic geographers got together across borders to share our varied experiences. In this paper we illustrate how this storying of pandemia helped us critically and collaboratively understand, (re)imagine and reconfigure ways of living during a global pandemic. We were especially interested in exploring different forms and practices of collective thinking and academic labour, within and beyond the academy. This paper foregrounds emotions and lived experiences, power and positionality, natures, bodies, and relations, and how they have come to our attention in new, different, or more pronounced ways, through everyday geographies of pandemia. Our aim is to emphasise two important aspects: that pandemia is a state of being with/as/through pandemic, and, as a collective noun, pandemia centres plurality, focusing on the potential to attend to the ways experiences of pandemic are redolent with multiple, overlapping exclusions and belongings, openings and closures.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"45 1","pages":"1 - 23"},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84067458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/2373566X.2022.2150259
Amanda Rogers
This is an autoethnographic reflection about doing research on the 1990 Cambodian National Dance Company tour to the UK. Drawing upon research on performance, history and reactivation, I argue that the situated encounters, memories and experiences associated with performance documentation – the archival “record” – complicates our sense of performative endings. I reflect on the seeming inability to study an “original” performance and the passing of dance masters during the course of my research, whilst simultaneously finding pictures and reports about them in archives and online. Through this, I consider how the affective investments of performances linger, often for decades.
{"title":"Reactivating the Record: Performance, Spaces of History, and Researching the 1990 Cambodian National Dance Company Tour to the UK","authors":"Amanda Rogers","doi":"10.1080/2373566X.2022.2150259","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2150259","url":null,"abstract":"This is an autoethnographic reflection about doing research on the 1990 Cambodian National Dance Company tour to the UK. Drawing upon research on performance, history and reactivation, I argue that the situated encounters, memories and experiences associated with performance documentation – the archival “record” – complicates our sense of performative endings. I reflect on the seeming inability to study an “original” performance and the passing of dance masters during the course of my research, whilst simultaneously finding pictures and reports about them in archives and online. Through this, I consider how the affective investments of performances linger, often for decades.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"49 1","pages":"256 - 272"},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77605602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/2373566X.2022.2155561
José Quintero-Weir, Pablo Mansilla-Quiñones, Andrés Moreira-Muñoz
The anthropocene and its contemporary environmental crisis are symptomatic of an exhausted phase and space of modern rhetoric regarding a nature/culture dichotomy. Its consequences are especially evident in indigenous territories, where it imposes a hegemonic vision of nature as an object of conquest; it affects ways of being, knowing, and existing with(in) the territory, and justifies ecocide and epistemicide. Other epistemologies and geonarratives are timely needed in the transit from the anthropoce towards an imaged new epoche of conviviality between humans (indigenous and non-indigenous) and more-than human species. This work addresses that challenge from a decolonial and transdisciplinary perspective based on Wayúu indigenous knowledge and their relationship with the hydrosocial territory in the Venezuelan Guajira. Wayúu geonarratives, based on the memory of their elders, are applied to reconstruct the climate calendar and the transformations it has undergone. These geonarratives of water trace a path toward knowledge that contributes to the design of pluriverses articulated from the edges of modernity across indigenous perspectives.
{"title":"The Exile of Juyá: Decolonial Geonarratives of Water","authors":"José Quintero-Weir, Pablo Mansilla-Quiñones, Andrés Moreira-Muñoz","doi":"10.1080/2373566X.2022.2155561","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2155561","url":null,"abstract":"The anthropocene and its contemporary environmental crisis are symptomatic of an exhausted phase and space of modern rhetoric regarding a nature/culture dichotomy. Its consequences are especially evident in indigenous territories, where it imposes a hegemonic vision of nature as an object of conquest; it affects ways of being, knowing, and existing with(in) the territory, and justifies ecocide and epistemicide. Other epistemologies and geonarratives are timely needed in the transit from the anthropoce towards an imaged new epoche of conviviality between humans (indigenous and non-indigenous) and more-than human species. This work addresses that challenge from a decolonial and transdisciplinary perspective based on Wayúu indigenous knowledge and their relationship with the hydrosocial territory in the Venezuelan Guajira. Wayúu geonarratives, based on the memory of their elders, are applied to reconstruct the climate calendar and the transformations it has undergone. These geonarratives of water trace a path toward knowledge that contributes to the design of pluriverses articulated from the edges of modernity across indigenous perspectives.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"127 1","pages":"24 - 44"},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80528479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-28DOI: 10.1080/2373566X.2022.2141132
Lorenzo Andolfatto
This paper advances a comparative reading of Chen Qiufan’s The Waste Tide (2013) and Wu Mingyi’s The Man with the Compound Eyes (2011) that is informed by the matter of waste. The former a dystopic, cyberpunk tale about the transnational circulation of electronic waste written by a former Google engineer from the Chinese mainland, the latter an eco-fantasy novel by a Taiwanese environmental activist and artist, these two novels “explore,” as Anna Tsing would have it, “the ruins that have become our collective home.” Lingering on waste processing sites and migrant worker communities, floating garbage patches and displaced indigenous populations, these texts transcend national boundaries and geopolitical dichotomies, to unfold instead on the common grounds generated by waste. Defined by it, they foreground in material terms the planetary networks, “webs of life” (Moore 2015), and more-than-human spatiotemporal scales within which life in late capitalism is entangled, envisioning radical possibilities therein.
{"title":"Suffer a Waste Change: Reading Chen Qiufan’s The Waste Tide and Wu Ming-yi’s The Man with the Compound Eyes along the Lines of Discard","authors":"Lorenzo Andolfatto","doi":"10.1080/2373566X.2022.2141132","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2141132","url":null,"abstract":"This paper advances a comparative reading of Chen Qiufan’s The Waste Tide (2013) and Wu Mingyi’s The Man with the Compound Eyes (2011) that is informed by the matter of waste. The former a dystopic, cyberpunk tale about the transnational circulation of electronic waste written by a former Google engineer from the Chinese mainland, the latter an eco-fantasy novel by a Taiwanese environmental activist and artist, these two novels “explore,” as Anna Tsing would have it, “the ruins that have become our collective home.” Lingering on waste processing sites and migrant worker communities, floating garbage patches and displaced indigenous populations, these texts transcend national boundaries and geopolitical dichotomies, to unfold instead on the common grounds generated by waste. Defined by it, they foreground in material terms the planetary networks, “webs of life” (Moore 2015), and more-than-human spatiotemporal scales within which life in late capitalism is entangled, envisioning radical possibilities therein.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"53 1","pages":"64 - 77"},"PeriodicalIF":0.7,"publicationDate":"2022-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78262936","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-11DOI: 10.1080/2373566X.2022.2132978
R. Walker
“Tapajós” narrates the field campaign of two researchers studying forest fragmentation in the Brazilian Amazon. It addresses a contemporary conflict in the region, where an Indigenous people, the Munduruku, are resisting efforts by the Brazilian State to channelize the Tapajós River and exploit its hydropower potential. Development here represents an existential threat to the Munduruku, whose homeland resides in the river valley. It also represents an ecological threat to the global community. Although the rate of deforestation dropped after the turn of the millennium, it has begun to climb again and would no doubt accelerate with development in the Tapajós watershed and the opening of Central Amazonia to colonization and resource extraction. This would push the forest past its tipping point, a magnitude of deforestation capable of compromising rainfall recycling, and thus precipitating the transformation of the Amazonian forest into a patchwork of fireadapted shrubs and grasses. “Tapajós” describes how such an ecological catastrophe would occur. It also argues that the assertion of Indigenous territorial rights is key to the conservation of Amazonian biodiversity. The account unfolds against a background of conflict between Amazonia’s Indigenous peoples and the Brazilian State. In so doing, it brings to life the realities of frontier violence involving both land conflict and the unrestrained behaviors of individuals living outside the institutional constraints of law. Such violence complicates the execution of field research in the region and contributes to its gathering ecological crisis.
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Pub Date : 2022-11-10DOI: 10.1080/2373566X.2022.2132975
Kathryn L. Hannum
The vast majority of work on language and landscape in Geography focuses on the linguistic landscape, which studies the presence or absence of certain languages or dialects on the landscape. This paper goes beyond linguistic landscape to explore language as representation of landscape imaginary. Landscape acts as a powerful symbol, and can work to strengthen territorial identities, solidifying nations as separate entities, intimately connected to the land that they inhabit. This is true of the nation of Galicia, an historic community in the northwest of Spain, where the national landscape and language have come to be inextricably linked in the Galician imagination. In conducting interviews with Galician educators about the nature of their language and its meaning to them personally, an unprovoked link emerged between the language and the landscape, painting the two as essential foundations of Galician identity. Language and landscape are seen as linked foundational symbols in a display of difference between Galicia and Spain. This paper uses themes that emerged from these interviews to elaborate how the Galician language can be seen as a representation of a landscape imaginary.
{"title":"Identity, Language, and Landscape in Galicia, Spain","authors":"Kathryn L. Hannum","doi":"10.1080/2373566X.2022.2132975","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2132975","url":null,"abstract":"The vast majority of work on language and landscape in Geography focuses on the linguistic landscape, which studies the presence or absence of certain languages or dialects on the landscape. This paper goes beyond linguistic landscape to explore language as representation of landscape imaginary. Landscape acts as a powerful symbol, and can work to strengthen territorial identities, solidifying nations as separate entities, intimately connected to the land that they inhabit. This is true of the nation of Galicia, an historic community in the northwest of Spain, where the national landscape and language have come to be inextricably linked in the Galician imagination. In conducting interviews with Galician educators about the nature of their language and its meaning to them personally, an unprovoked link emerged between the language and the landscape, painting the two as essential foundations of Galician identity. Language and landscape are seen as linked foundational symbols in a display of difference between Galicia and Spain. This paper uses themes that emerged from these interviews to elaborate how the Galician language can be seen as a representation of a landscape imaginary.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"41 1","pages":"102 - 121"},"PeriodicalIF":0.7,"publicationDate":"2022-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79076751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-09DOI: 10.1080/2373566X.2022.2132976
C. Veal
Endings take multiple forms yet remain under theorised within geography. Informed by Hannah Arendt’s assertion that action has no end, this paper argues for the resonances and elaborations of endings, providing evidence from dance choreography. As an art form, dance has been variously conceived as ephemeral but also transient, thus neither capable of being lost nor destroyed. I explore these ideas through Renail Basail’s re/staging of the choreography Out of the Box, and it’s unexpected ending in March 2020. I ask, what might dance choreography tell scholars of geography and the geohumanities about how to work with such a sense of endings as contingent and open? This paper contributes to this gap in thinking and theorising by outlining four propositions on endings drawn from dance theory and practice. These are: endings and ephemerality, endings as conditional, endings and liveness, and endings as radical. Where endings are open and congruent, two key implications emerge. First, there is need to situate endings within bodies, articulating how they are practiced and performed, whilst always subject to external forces not fully known. Second, if action has no end, there is political possibilities to creative endings.
结局有多种形式，但仍在地理理论范围内。根据汉娜·阿伦特(Hannah Arendt)关于行动没有终点的主张，本文论证了结局的共鸣和阐述，并从舞蹈编舞中提供证据。作为一种艺术形式，舞蹈被各种各样地认为是短暂的，但也是短暂的，因此既不会丢失也不会被摧毁。我通过Renail Basail的编舞《跳出盒子》(Out of the Box)的重新上演来探索这些想法，它在2020年3月出人意料地结束了。我问，舞蹈编舞可能会告诉地理学和地理人文学者如何处理这种偶然和开放的结局感?本文从舞蹈理论和实践中提出了四种关于结局的主张，从而弥补了这一思维和理论上的空白。它们是:结尾和短暂，结尾作为条件，结尾和活力，结尾作为激进。如果结局是开放且一致的，那么就会出现两个关键含义。首先，我们需要在身体内部设置结局，明确它们是如何练习和执行的，同时总是受制于未知的外部力量。第二，如果行动没有终点，那么政治上有可能有创造性的结局。
{"title":"Opening Up Endings: Action Performance Practice","authors":"C. Veal","doi":"10.1080/2373566X.2022.2132976","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2132976","url":null,"abstract":"Endings take multiple forms yet remain under theorised within geography. Informed by Hannah Arendt’s assertion that action has no end, this paper argues for the resonances and elaborations of endings, providing evidence from dance choreography. As an art form, dance has been variously conceived as ephemeral but also transient, thus neither capable of being lost nor destroyed. I explore these ideas through Renail Basail’s re/staging of the choreography Out of the Box, and it’s unexpected ending in March 2020. I ask, what might dance choreography tell scholars of geography and the geohumanities about how to work with such a sense of endings as contingent and open? This paper contributes to this gap in thinking and theorising by outlining four propositions on endings drawn from dance theory and practice. These are: endings and ephemerality, endings as conditional, endings and liveness, and endings as radical. Where endings are open and congruent, two key implications emerge. First, there is need to situate endings within bodies, articulating how they are practiced and performed, whilst always subject to external forces not fully known. Second, if action has no end, there is political possibilities to creative endings.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"6 1","pages":"191 - 210"},"PeriodicalIF":0.7,"publicationDate":"2022-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90435214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-21DOI: 10.1080/2373566X.2022.2115935
P. Richardson, Deepak Tolange, Alexandra Plummer, B. Kaufmann
This paper documents efforts to support a feedback and sharing process using Community Cinema and Participatory Video (PV), in the context of ending a five-year agricultural research for development (AR4D) project. By the final year, some troubling patterns of transactional interaction between researchers and farmer-participants had become established. This multimedia essay documents and describes our imperfect yet hopeful attempts to disrupt relationship patterns at the end of the project. Contributing to debates around collaboration within AR4D projects, we specifically highlight our disruption of: (i) a well-trodden communication path enrolling intermediary “gatekeepers” to contact participating farmers; and (ii) the protocol of paying participants to attend meetings. We reflect on how—at times—the changes we made, while implementing creative, participatory methods, opened up a newly interactive space to support reflection, feedback and sharing processes at the end-phase of the project.
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