Deliverable 4.2. Documentation of workshops and performances

Deliverable 4.2 Documentation of workshops and performances 2025 Workshops and performances: Otros hacerles July, 2025 Ref. Ares(2025)6663096 - 18/08/2025 María Sol Carrillo Co-ordinator. Universidad de Buenos Aires. Argentina Editors How to cite this document Carrillo, S; Boager, E; Gago, A; Mamede, T; & Giannini, E (2025). Deliverable 4.2. Documentation of workshops and performances. Contested Territories. The photograph was taken by Santiago Rojas, from Pontificia Universidad Javeriana in Cali, Colombia. 2025 This project has received funding from the European Union's Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No873082. 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 Research Executive Agency (REA). Neither the European Union nor the granting authority can be held responsible for them. Graphic design Front picture credit Lina Marcela Rendón Zea Pontificia Universidad Javeriana Cali Enrica Boager Maria Teresa Mamede Co-author. Habita65. Portugal Co-author. Habita65. Portugal Ana Gago Eleonora Giannini Co-author. Habita65. Portugal Co-author. University of Sheffield. United Kingdom Executive Summary Introduction Section 1: Workshops 5 5 6 6 7 8 9 10 10 12 12 13 16 17 18 10 23 26 27 28 30 33 35 37 40 43 46 46 47 48 Content Page Workshops and performances: Otros haceres I 3 Workshops and Performances: Otros Haceres Workshops: community workshops, research workshops, (territorial) performances and other theatrical means of research Workshops, performances and contestation Workshops in research Characterization Contributions to Contestation The experiences ATERAL - Territorial accumulation in Latin America Analysis of speech on the research processes of territorial accumulation Diálogos Sur-Sur: Other ways of inhabiting and representing the Territory First Edition Second Edition Encounters with Water: Epistemological, artistic and political contestations from the Mallolafken Tenants survey In Buenos Aires In Barcelona Encounter Other Methodologies: Territorial disputes, dialogue of knowledges and futures, a space for exchange Urban Prefigurations International Seminar Touristification and commodification of Nature. Debates and proposals International Symposium: Coexistences and Struggles for the Inhabited Space Food as a Field of Contest: Alternatives in Production and Marketing as Practices of Resistance in Berlin, Madrid, and Buenos Aires Biochar Filters for communities affected by urban contamination in the Katari Basin, Bolivia Voces-Territorios: An app for mapping territorial processes In Madrid In Buenos Aires Project Experimentation and Infrastructure Development Urbanism workshop in Camino de borde - Costa del Lago y 8 de Mayo neighbourhoods of Buenos Aires, Argentina. Deliverable 4-2 - Documentation of workshops and performances Section 2: Performances and Theatre Bibliography 51 52 53 54 55 56 57 59 59 60 60 60 61 62 63 65 68 Content Page Performances and Applied Theatre as Research Strategies Performance, Theatre and Contestation The Experiences Workshop-performance “Agueau Vivant” Workshop-performance “Canto al Agua” (Song to the Water) Performance “Silencio” (Silence) “SILENCIO” around the world In Tena, Ecuador (Saporumi) In La Paz, Bolivia: Cantos y Diálogos con el Agua In Sheffield, UK In Madrid, Spain: Calero es nombre de arroyo. Silencio por el Agua In Karlsruhe Schloss, Germany In Tula, México Aillaquillen -La Isla de las Nueve Lunas (The island of Nine Moons) Ópera-salsa: Dónde Meter la Cabeza (Where to Stick your Head in) Workshops and performances: Otros haceres I 4 Deliverable 4.2Documentation of workshops and performances Developed within the Contested_Territory network, this deliverable systemathises a range of workshops and performances framed within the tasks 4.4 and 4.5 of the Work Package N°4 of the project: “Connecting and reclaiming Contested Territories: The scope of co-producing alternatives”. The collection of initiatives herein -all unique but also all intertwined in a network with a coherent manner of co-producing and bringing knowledge into practicegives evidence of the synthesis that our core concepts, otros saberes and contestation, reach through our active and creative methodological options, our otros haceres. Hence, in addition to the documentation of those experiences, this deliverable seeks to analyse, on the one hand, their methodologies, which comprise -in most casesunorthodox and innovative research strategies, frequently in dialogue with the realm of the arts. And, on the other hand, their contribution with territorial contestation, which represents one of the backbone concepts of the project. Even if each experience herein described is unique, some categories have emerged during the analysis of both workshops and performances: regarding workshops, the first debate we intend to enrich is whether they are community workshops and why. The second categorisation refers to the focus and techniques deployed to design and implement those workshops: although they are all inscribed within the scope of research strategies, some make use of conventional tools for co-producing and disseminating knowledge, while some others recur to performative and artistic tactics and techniques, some focus on the territory and the body, and others use the workshop mainly as a guiding thread, a platform for deploying and giving cohesion to a myriad of learning and researching resources. As for performances, we discuss their particularities and distinctive elements, as much as its hybrid essence, and the connections and crossovers they present with other theatrical means of research. Following the introduction in which we discuss the categories mentioned above, the deliverable presents all the initiatives in two sections, each with a short introductory reflection, followed by the catalogued experiences. The workshops section contains 13 entries, and the performances section 5, documenting more than 60 activities in total, all of them follow a standardized structure to ensure clarity and usability: it includes a concise summary of the initiative, a discussion on their contribution with contestation, and links to complementary materials, apart from illustrative images alongside most experiences. Executive Summary 1 2 [1] Task 4.4: Developing small-scale community workshops. Participatory community workshops in each partner country will explore the scope of co-producing innovative community practices that develop alternative understandings of humanity and nature. In workshops, a fusion of qualitative methods rooted in participatory action research will be used. This includes participatory mapping, but also different forms of knowledge such as oral history, music, poems and corporeal expressions to help developing the conflicting positions about the coexistence and interdependence of different forms of knowledge. By this, we seek to unravel the ways through which spatial meanings are produced and negotiated in a context dominated by increasing demands for land rights. This task is central to understanding the political subjectivities behind reclaiming Contested Territories. We will also concentrate on how to appreciate and learn from the non-archival memory and affective connections of those affected by territorial accumulation, i.e. asking us how stories, experiences and knowledges can be validated in an ethical manner. Workshops may also include smart mapping to analyse and represent in a dynamic way the complexity and heterogeneity of Contested Territories, triggering spatial transformation and awareness. [2] Task 4.5: Reclaiming territories through art, performance and the visual. This task explores community initiatives that aspire to cocreate counter-hegemonic ways of producing social representation and social realities, focusing especially on the visual, artistic and performative character of this co-production. Research action will be decided with local communities, and it will apply popular knowledge about visual representation, art expressions and methods such as the ‘theatre of the oppressed’ to co-create knowledge that is meaningful to foster local initiatives, unravelling the boundaries between science, activism and arts. Workshops and performances: Otros haceres I 5 Contested Territories is an international, cross-sector network of organizations from Europe and Latin America united in a joint research program focused on generating conceptual and empirical knowledge on territorial inequalities. At Contested Territories, we believe that the alternative practices and knowledge promoted by communities are the basis for understanding the transformations of space and society, and enable the dissemination of knowledge in a movement that goes from the local to the global. We are particularly interested in investigating and understanding how communities themselves shape, negotiate, imagine, and collaboratively manage their territories within power relations that are always unequal and constantly contested. The unifying concept of Contested Territories allows us to establish a consciously open and interpretive approach, based on seeking an understanding of the conflictual mechanisms and political disputes in the production and appropriation of different spaces and other knowledge anchored in the territory. The teams that make up the network come from diverse geographies and disciplines, both academic and artistic, from research, territorial intervention, and cultural production. We seek to generate an exchange that allows us to understand, support, and offer alternatives to disputed territories. Introduction Workshops and performances: Otros haceres [3] In that sense, this deliverable is closely linked to two others: on the one hand, the Deliverable 5.1 Otros Saberes Toolkit, which focuses specifically on reflecting on the knowledge produced in research in territorial conflict settings and how these otros saberes have strengthened the commons, the capacity for resistance, and ultimately, community response to inequality. On the other hand, the Deliverable 5.2 Documentation of Community Workshops, which provides a specific analysis of these activities and their close connection with otros saberes and community contestation. [4] For further information, visit Deliverable 2.2: Methods and training Toolkit https://www.contested-territories.net/toolkitapproaching-contested-territories/ [5] Many of them as a result of the impediments settled by COVID pandemics, and adopted since then as a valuable resource for such a geographically extensive network The following document brings together various reflections derived from the systematisation of workshops and performances: a range of artistic, activist, cultural and community management practices deployed in the framework of the CONTESTED_TERRITORY project, an international and intersectoral network of 23 organisations from Europe and Latin America, gathered around a common research programme aimed at producing conceptual and empirical knowledge on territorial conflicts caused by unequal development, segregation, extractivism, dispossession and other injustice related phenomena. The initiatives herein are part of Work Package 4, which proposes connecting the experiences of people claiming disputed territories and co-producing alternative knowledge through art, exploration of nonacademical fields, and innovative paths for research, It also facilitates the active collaboration with local social organizations in the identification and implementation of self-organized social innovation projects as a means of contestation. 3 In the process of documenting these experiences, we found a richness and diversity that is a true exponent of the spirit and values of the CT program: the will to build common languages to enable the dialogue between participants coming from multiple backgrounds, academic disciplines and non-formal knowledges -and sometimes, literally speaking different languages-, a quest going from the rigorous application of classic methods of scientific production, to the search for equally rigorous alternative and experimental methodologies and the recognition of otros saberes a scope that goes from site-specific activities, to multilocations and also remote virtual meetings. While all of the activities surveyed have been one of a kind, they have simultaneously constituted, as a whole, a consistent expression of this universe. Workshops and performances: Otros haceres I 6 4 5 All of them evidence how the recognition and construction of otros saberes require the use of innovative methodologies and implementation of alternative practices, or what we call otros haceres, and vice versa, these alternative practices are developed and informed by otros saberes. The richness and diversity we encountered while documenting these experiences also highlighted the need for deeper methodological reflection: How is it that so many different activities are labeled as workshops? What, by definition, is their core essence? What are the varieties and limits of the concept? Likewise, the boundaries of the notion of territorial performance are many times diffuse, and overlap with those of other theatrical explorations, hence requiring some further explanation. (sometimes Occam's razor, in its eagerness to clear away parsimony, can shave away the complexity, the multilayeredness, and the intertwined nature of social fabric). As a first contradiction, this distinction seemed to reinforce the binary of formal/ academic knowledge versus other/ community knowledge, thus breaking with our purpose of articulating and co-producing knowledge, and emphasising -as it always occurs in binary thinkingthe hierarchical nature of these two poles, leaving one (scientific knowledge) above the other (community knowledge). Secondly, even if we had wished to mark it out, that line was not so easy to draw: what happens, for instance, when a researcher is also a member of the community? What happens when community experts teach/ share their knowledge with researchers? And what happens when new knowledge emerges -as it happens most frequently in CT networkfrom the articulation of formal and other forms of knowledge? As a consequence, rather than on the participants, we decided to focus instead on the contents coproduced in the workshops and their "direction”. That is, we understand that a workshop is community-based when both the process and the product result in the construction of new knowledge for the community and/or fundamentally applicable within the community. On the contrary, if a knowledge (technical, academic, traditional or otro saber) is built or learned mainly within the academic community (researchers, students, teachers) and/or generates formal outputs applied mainly in academic settings or mixed settings, we understand that the workshop is part of the research strategy and methodology. While this classification does not pretend to be strict, it contributes with meaningful debate about co-production and dissemination of knowledge generated through these methodological paths, and their contribution with contestation. This deliverable focuses on the second group: workshops as a research strategy. In its section 1, you will find an introduction to the concept and a descriptive classification according to the techniques and aims involved. “Otros saberes are understood here as innovative yet existing approaches to resource use and associated human-environment relations, values and knowledges that have been marginalised by mainstream academic and policy debates yet possess the potential for sustainability and transferability across different contexts. While otros saberes may be articulated in ordinary people’s everyday habitual practices, they often become most apparent through multi-stakeholder dialogues, exchanges, disputes and struggles in specific territories”. (Horn, P, Calsina Valenzuela, C.L., Zambrana, F., Dal Din, L. 2025). Otros haceres are understood here not only as nontraditional research practices, such as PAR (participatory action research) and those which include, for example, feminist and decolonial approaches, but essentially those that bring the social realm into the centre of the scene, enacting and performing the diversity of community life, trespassing the limits between academy and territorial practice, in a constant dialogue between metodologías otras (alternative methodologies) and counter-hegemonic community actions. Workshops: community workshops, research workshops [4] Community workshops are documented and analysed exhaustively in Deliverable 5.1 Thus, the first step was to explore the scope of the concept of workshop and propose a distinction regarding community workshops: the simplest option for delimiting them indicated that if they involved exclusively “members of the academic community”, they were technical workshops, and if they involved the “extramural community”, they were communitybased. However, this reasoning would lead us into several contradictions with our theoretical and methodological framework 6 4 Workshops and performances: Otros haceres I 7 Workshops, performances and contestation Apart from the particular contexts and projects in which they occur, each of these initiatives has the transversal aims of, on the one hand, enabling critical reflections on the traditional ways of producing knowledge and the role of research methodologies, and on the other hand, making concrete contributions with the multiple forms of resistance and contestation the communities present. Based on participatory action research, all these activities framed within the Contested_Territory network, encourage collaboration between local communities and our project partners, seeking to strengthen the commons, the potential for proposing ethical, strategic and autonomous alternatives, through the creation of spaces of dialogue between different approaches to understand ‘development’. Strongly intertwined with stimulating visual and cultural forms of expressing embodied and lived knowledge, we aim at connecting the experiences of people reclaiming Contested Territories and coproducing alternative territories. Over the past four years of practice and reflection on the convergence of multiple ways of being and knowing, the workshops, performances, and their outcomes have deepened our understanding of territorial conflicts and contestation. While documenting the experiences, we have collected the standpoints of the researchers regarding the theoretical concept of contestation, as well as the particular contribution the projects they led have made to it: the latter is expressed on each of the entries and the former has enriched the introductory reflection in both sections (for workshops and performances, respectively) and is also encapsulated in the word cloud that follows. Workshops and performances: Otros haceres I 8 Section 1: Workshops Workshops and performances: Otros haceres I 9 Analysis of speech on the research processes of territorial accumulation Timeframe November 2024, Buenos Aires, Argentina Lead network node Faculty of Agronomy - University of Buenos Aires, Argentina Representatives of the nodes: CEUR (Centro de Estudios Urbanos y Regionales), Argentina. UAM (Universidad Autónoma de Madrid), Spain. Researchers (trainee, junior and senior) from Buenos Aires Contested Territories nodes. Participating actors General information Context of the activity Purpose Description of the activity This technical workshop aimed to contribute toward a deeper knowledge on how to analyse discourses produced in the processes of territorial accumulation, with a focus on popular struggles against different kinds of extractivisms, neoliberal conservation policies, short agro-ecological production chains and their distribution in “alternative” channels. The workshop took place at the Cátedra de Extensión y Sociología Rural of Facultad de Agronomía (University of Buenos Aires), in collaboration with CEUR (Centro de Estudios Urbanos y Regionales) and UAM (Universidad Autónoma de Madrid). The context of conflict at the heart of this initiative revolves around the discourses, policies, and material chains that structure agricultural production and distribution today, along with broader patterns of extractivism—practices that prioritize the exploitation of land, labor, and natural resources for profit, often at the expense of ecological balance and social justice. Through collective dialogue, the spare event of the workshop aimed to interrogate how policies and discourses affect material realities on the ground, and how grassroots movements are not only resisting but also proposing transformative alternatives to extractivist agriculture. The activity was based on a Foucault-inspired approach to discourse analysis, understanding discourses as fields of power and sites of social conflict. It provided some tools to critically read how discourse shapes and is shaped by power relations, and how it operates in the construction of social and environmental realities. Through this lens, participants examined dominant narratives— particularly those rooted in neoliberal and colonial logics—and engaged with alternative knowledges that challenge these hegemonic frameworks. The activity combined theoretical input with practical exercises to equip participants with tools to identify, analyze, and produce counterhegemonic discourses in their own research and territorial engagement. The purpose of the activity was to provide both theoretical and practical training in discourse analysis, with a focus on developing tools to critically examine the discourses that emerge from processes of territorial accumulation, particularly in their environmental dimension. This approach enables participants to understand and analyze how language shapes and reflects power relations, environmental conflicts, and socio-territorial struggles. Workshops and performances: Otros haceres I 16 Argentina Territory Buenos Aires metropolitan area Outputs and contributions to the contestation The activity contributed to the contestation by analyzing both public and institutional discourses identified by the participants as central to their research, as well as counter-hegemonic discourses emerging from social struggles. The workshop focused on alternatives and resistance to neoliberal and colonial narratives, particularly in the context of environmental and territorial conflicts. In all of them, it was unveiled how the processes of accumulation of territorial, social, cultural, and linguistic commons build alternative communicative relationships and practices to neoliberal governmentality. it was unveiled how the processes of accumulation of territorial, social, cultural, and linguistic commons build alternative communicative relationships and practices to neoliberal governmentality. As a key output, it provided participants with theoretical and practical tools for the analysis of social reality and for the design of discourses of contestation, thereby strengthening their capacity to critically engage with dominant narratives and support transformative processes. El análisis de discurso como herramienta para estudiar procesos y conflictos urbanos. Entrevista a Luisa Martín Rojo Further information Diálogos Sur-Sur: Other ways of inhabiting and representing the Territory Timeframe The initiative took place in two different sessions in the city of La Paz, El Alto and Achocalla (Bolivia) in Autumn 2023 and Autumn 2024 Lead network node IIADI, Bolivia Representatives of the nodes: Universidad de Chile, Chile. FLACSO, Ecuador. Universidad de Buenos Aires, Argentina. Universidad Javeriana de Cali, Colombia. Universidad de la Frontera, Chile. Politécnico de Milán, Italy. University of Sheffield, United Kingdom. Universidad de Madrid, Spain. CEUR/CONICET, Argentina. Karlsruher Institute für Technologie, Germany. CEPLAG, Bolivia. Ciudades Reveladas. Basurama, Spain. Other representatives: Institutional actors (Municipal Government of La Paz and Municipal Government of El Alto); Trono youth art collective; Indigenous/indigenist youth collectives: Red K-motes del Tarwi, Red de la Diversidad, Colectivo Curva, Colectivo JICHA, Ayllus urbanos Nina Mayu. Community members of Alto Milluni, upper part of the Katari Basin; Participating actors CT members visiting the Cholets Context of the activity Diálogos SUR-SUR was an initiative conceived to provide a space to establish a South-to-South dialogue, to exchange experiences and sociocultural practices around other ways of doing -otros haceres-, living, being, inhabiting and representing the territory that the indigenous dimension evokes in the current Latin American reality. In this framework and after a series of preliminary remote meetings, the event convened different researchers-activists from various CONTESTED_TERRITORY nodes of South Latin America to talk, experience, and explore the territory. The dialogue that started from there, allowed to critically ook at some of the tensions and disputes of the South context, identifying similarities and differences between the different territories represented in the meetings. The axes of analysis have been: 1. Worldviews and territorial tensions in urban/rural contexts 2. Symbolic and territorial disputes within indigenous ritual spaces 3. Artistic interventions (of the indigenous in urban contexts, a look at the experience in Latin America) 4. Ways of inhabiting the everyday from the Andean and indigenous perspectives - Habitat production. Workshops and performances: Otros haceres I 17 Bolivia Territory la Paz, El Alto It was basically about walking, but staging critical readings of the territory that allowed us to recognize the history, the colonial, symbolic, and material tensions that run through the territory. They integrated moments of interaction and dialogue with actors: spaces for exploring the field of action of the experiences and their actors, and thus being able to reinterpret them, recognizing the meanings present in their struggle and territorial experience. The theme of the workshops was the alternative representations and ways of inhabiting the territory. On the first day, the focus was the ritual and ceremonial dimensions. The visits included: The General Cemetery, located in a popular neighbourhood of La Paz. There the participants learned about the festival of the Ñatitas which, unlike the religious festival “Day of the Dead,” integrates Andean rituals and narratives, thereby displaying a distinct relationship between life and death. The Apachetas and Yatiris of El Alto, where the locals researchers helped the visiting researchers to find out, mingled in the urban buildings, these altars for offers to the achachilas (the ancient spirits of the ancestors), and discussed the meanings of both sites and offerings. Purpose First edition Description of the workshops: The Dialogos Sur Sur aimed to prove that despite the modernisation, and somewhat superficiality of the current society, different visions and perspectives survive in other ways of living, imagining, relating and representing the territory, the world and life of the peoples of the Andes. The activities addressed Latin American societal challenges and contrasts through critical journeys, highlighting the need to rethink the categories we use to name and understand territories, especially those shaped by colonial and civilising logics. Many of these territories remain in fact deeply influenced by other ways of inhabiting and representing space, a contrast that becomes particularly evident in urban contexts, where different ways of naming, living, and understanding the territory not only persist but continue to shape everyday life. In this sense, the activities staged and made visible an enduring otherness—an otherness rooted in and expressed through the territory. The initiative was extremely fruitful, setting off a series of derived outputs, and had an iteration of the gathering one year after the first one. General info: La Paz, El Alto and Achocalla, Bolivia. From 24 to 28 April, 2023 Organisation of the event: It was structured through 4 components: 1.Workshops exploring and experiencing the territory 2.Workshops on ongoing doctoral theses 3.The creation of a networking space to advance work in progress and imagine new collaborations between nodes for future research: Diálogos SurSur and Mapoteca 4.Audiovisual and graphic productions. Body-territory workshops: During the first three days of the encounter, the workshops started with critical journeys: these have been spaces for navigating the territory, walking through its zones, streets, and places, while recognizing the daily, tense, and contested narratives. Making an offering at Alto Milluni. Workshops and performances: Otros haceres I 18 Paka Illa cultural centre, located in the community of Uypaka within the municipality of Achocalla, including the participation in a special ritual held in the “chullpares" (ancestral burial sites conceived nowadays as sacred places) and in an astronomical night to appreciate Andean star constellations, and debate on their meanings and uses. The second day, the aim was to explore Habitat, Andean architecture and the revitalization of culture. The workshops went by the cable-car (a point of interest on its own) around: The Contemporary Art Museum of El Alto: to put into context the aesthetical and artistic framework of contemporary aymara and criolla populations of this city. The cholets, a neologism that comes from mixing the word “chalet” and “cholo”, and describes this singular contemporary Neo-Andean architecture. Wayna Tambo cultural collective, zona Villa Dolores. A space for the youth and a think tank for the new social, architectural and aesthetic movements that grew in the city in the last few decades. Urban springs of Pasankeri: where the washer-women explained their struggles, and how they organised their collective reclaiming for an adequate infrastructure for their traditional work. Urban Yapus and Ayllus of Alto Tacagua: Here the participants learned that yapus and ayllus are productive gardens, the difference being that while the former include a sense of ritual and ancient knowledge, the latter do not, and are more like an hybrid form of urban yapus. The organisation Nina Mayu Urban Ayllu, also in Tacagua, where they promote potato cultivation based on collective agricultural principles grounded in the Andean community organisation of the ayllu. After three days of these body-territory workshops, the closure came through technical workshops held on days 4 and 5, where -having as a guiding title “the accumulations, tensions, and territorial disputes”- the participants shared the lessons learnt, the highlights, the feelings and the open debates, comparing these experiences with those in their places of research. The gathering enabled the production of 7 short films entitled PACHA: TERRITORIES WITH MEMORY. A survey of other perspectives on the territory from the communities of thought present in the territory. Available here: Pacha: territorios con memoria There also was a short photographic document "Living Memory" by Mónica Cataño of the Cali node, linking the work she does in Colombia and the experience of the Diálogos Sur-Sur, a photo gallery showcasing these other ways of inhabiting the territory and the symbolic and material disputes and tensions surrounding it, and a photo story about the Cable Car, focusing on rational and sensitive positions, and the experience of exploring the city via the Cable Car. Video-memory of the Meeting: DIALOGOS SURCORREG-FULLHD-final.mp4 Alto Milluni villages, with their community tourism initiatives. The third day, the theme was Water, springs and other urban-rural links. The visits took place in: Hampaturi village and dam. The participants were taken through the productive dynamics of the “rurban” families. In the dam, there was a replica of the SILENCIO performance (see next section). Outputs and further info Workshops and performances: Otros haceres I 19 Second Edition Desription of the workshops Body-territory workshops General info: La Paz and El Alto, Bolivia. From March 25 to April 12, 2024. Organisation of the event: It was structured through 5 components: 1.Workshops exploring and experiencing the territory 2.Workshops on ongoing doctoral theses 3.Three specialist talks open to the public, to disseminate the network's research advances through public discussions; 4.A networking space to evaluate work in progress and imagine new collaborations between nodes for future research: Diálogos Sur-Sur and Mapoteca 5.An audiovisual exhibition named "Audiovisual Territories" This method was used to recognise women's experience of travelling by public transport, to observe the urban-rural continuum, the rural components and marks present in the city, to discover the watercourses transformed and hidden by urbanisation, and to get to know emblematic places of resistance struggles in the city of El Alto. The points of visit were structured, accordingly, on 5 different modules: Module 1: Gender and mobility. Departing from Amarillo Sopocachi by cable car, the participants explored mobility with a gender perspective, recognized how women have a different experience of the city and identified some of the strategies they must implement to overcome the obstacles presented by cities designed for men. Module 2: Multilocality. In this workshop, the members were divided into four teams of six people each. Each team visited two territories of La Paz or El Alto, and they were asked to capture their experience via various audiovisual and graphic techniques Module 3: Infrastructure of extractivism: Visit to Milluni, cuenca Katari, where otros saberes regarding community life in spaces impacted by extractivism were also identified. Module 4: Environment, contamination, water: Where “Andar como si fueras agua" (Walk as if you were water) tour demonstrated other local knowledge about waterways (springs, memories of the presence of streams and irrigation ditches before urbanization, practices related to the presence of water) Module 5: Young indigenous in the city. In the critical walk through El Alto, the participants learned about the experience of living in the city from the perspective of indigenous youth. The workshop activity was nourished by: premeetings (to share ideas, reflections, perspectives and views from the different territories); participatory dialogues, to invite the participation of different voices, different experiences and perspectives on the experience of being indigenous in the city; talks with expert voices or specialists in subject of territorial accumulation and resistance and part of the CT Network. Description of the activity: Being this encounter longer than the first one, the organisation of the workshops required some adjusting: Instead of having all the body-territory ones firstly, and lastly the technical space, it was arranged to have an intertwined dynamics alternating one of each. Critical tours: the tours were body-territory workshops aimed at transiting the territory, walking through its areas, streets, places, while recognising the daily, tense and disputed narratives. This activity stages critical readings that help to recognise the history, the colonial, symbolic and material tensions that cross the territory. Collective, semi-structured walks of territorial recognition were carried out with selected points of rest and dialogue with predefined objectives. Walking to observe, record and understand the inequalities and other tensions present in physical spaces and social interactions, but also to dialogue with otros saberes of local actors. CT members attend to a technical workshop Workshops and performances: Otros haceres I 20 Technical workshops were used to promote exchange between doctoral students and experienced researchers (teachers), on the basis that these well-guided spaces can promote learning and dialogue, and because this method is studentcentred. The workshop was conceived as a space in which to listen and give feedback on the progress and doubts of research processes. They were organised in three groups, one per day: Group 1: Development and poverty Group 2: Infrastructure and urbanization Group 3: State, power and struggle: Technical workshops: The Seminars Contributions to the contestation Technical workshops: Methodological workshops for doctoral students The analysis workshops -held in every case on the day immediately after the critical tourshave been spaces for dialogue and reflection where participants and representatives of the different nodes put their impressions, perspectives and readings about the territory on the table, based on the experiences carried out in Bolivia. This allowed a work based on practice, action and reflection, stemming from the experience generated in the territory. The possibility of opening this research space opened the door to recognising the depth and mix that the territory lives every day and how the symbolic dimension, the tensions and territorial disputes are present in these spaces. It was possible to recognise the specific forms or territorial responses that exist today as a response to hegemonic narratives: experiences, looks and reflections that can build -or are already buildingtheir path in aesthetic, narrative and reflective terms. The territorial experiences that arise from the Andean indigenous heritage are an alternative response to a civic model that has been imposed over time and shows its anachronism, its limits and its collateral costs today. This idea emerges from the need to make visible and compare the tensions, disputes, and territorial, symbolic, and material accumulations that arise from the coexistence of indigenous otherness and modern rationality. In the same spirit, there were three spaces for teaching and learning. Dialogic Territories - Audiovisual Methodologies in Social Research and Militant Practices, facilitated by Khalil Esteban, UBA. Deep cartographies, facilitated by Malú Cayetano, Basurama. Bibliometric tools for the state of the art, facilitated by Ignacio Arce, Universidad de Chile. Exploring the "Chullpares" (ancient burial sites) in Achocalla. Memoria Viva by monica marion cataño - Issuu Further information: D2M2 - Programa FINAL 23-03-24 - Patricia Urquieta.pdf Visit to Milluni (module 4): https://www.facebook.com/IIADIOficial/video s/7784569464955846 Workshops and performances: Otros haceres I 21 Above all, it is impossible to think about territory without also thinking about history, subjects, memory, and the ongoing struggles and conflicts that inhabit it.Territories are not empty or static spaces; they are living and dynamic fields, in movement. Through critical experiential journeys and restitution, the research topics explored with these activities were: women's challenges in daily mobility; multilocalities as an expression of urban-rural links, strategies for maintaining territories, cultural patterns and food security; extractivism, pollution and the resistance of communities that develop communityled tourism projects as a response and alternative to extraction; water and urbanisation, the recovery of neighbourhood spaces for planting food and the reconstruction of collective knowledge and practices from the Aymara cosmovision present in the territory; the life strategies of young indigenous people in the city. The group of participants after the body-territory workshop at the Cemetery The various activities addressed and identified many forms of contestation, bringing together different representatives and community experiences, such as the Wayna Tambo - Network of diversity, the PAKA ILLA Center, and the collective NINA MAYU. The participants in the activities were able to meet the actors directly involved in these challenges, recognise their struggle and the purposes of their contestation. Overall, the initiative produced learning outcomes based on dialogue between different knowledge and as a product of the multidimensional experience of territorial analysis. The Diálogos Sur-Sur started an honest and horizontal dialogue to build a response to contemporary challenges from a plural vision of the territory, in an interdisciplinary reading, where these other knowledges are recognised for their epistemological and ontological value. Workshops and performances: Otros haceres I 22 Encounters with Water: Epistemological, artistic and political contestations from the Mallolafken Timeframe Pucón, Chile, November 2022 Lead network node Universidad de la Frontera, Chile Representatives of the nodes: FLACSO (Ecuador), University of Leeds and University of Sheffield (United Kingdom) and Left Hand Rotation (Portugal). Other representatives: approx. 100 participants from territories near Pucón (Chile), including activists, students, Indigenous communities and citizens. Two Indigenous youth activists from El Alto (Bolivia) and Santa Clara canton (Ecuador). Participating actors Participatory critical cartography at the workshop: "Memoria: Voz de un territorio" Encuentros con el Agua was an event that aimed to explore different perspectives to destabilize the traditional ways for comprehension of and bonding with nature, the elements, and most particularly, water. During the Encuentros, there was a myriad of debates and analysis organised in three interwoven dimensions: epistemological perspectives, methodological experiences, and political experiences. These three axes were addressed through roundtable discussions, workshops, and other practical experiences that put into tension different notions of WATER as a resource, as a commodity, as a vital element, as site: as a contested territory. Context of the activities [7] Community workshops are documented and analysed exhaustively in Deliverable 5.1 [8] Addressed in the next section along with the performance SILENCIO Along with other problems shared widely with other regions, the Mallolafken has a particular conflict with tourism and gentrification related pollution which was brought into attention during the gathering. During three days, the intense programme of activities ranged from cultural and artistic shows to debates. It included some community workshops, as well as a series of performative actions and workshops that nurtured the final act for the gathering: the performance SILENCIO. Herein we present four workshops that explored in different ways the topics of the gathering. 7 8 Workshops and performances: Otros haceres I 23 Chile Territory Pucón There were four workshops that facilitated the exploration of the epistemological perspectives, methodological experiences, and political experiences of water, through unconventional approaches: “Memoria: Voz de un territorio” by Marcela Urzay Rates and América Irribarra, “Contemporary dance CUERPO LÍQUIDO” (Liquid body) by Plataforma Azul, and “Observation and painting” by Soledad Gattavara and “ITROFILL KÜME KO” (or “The kindness of water in all its shapes”) coordinated by Wüfko corporation. Workshop: “Memoria: Voz de un territorio” The starting point of this technical workshop was an Exhibition presenting the project “Memories of Water by Ancient Inhabitants of Pucón”, and some of its outputs and products, such as the audiovisual capsule, the participatory critical cartography, and one of the radio play's chapters, facilitating and ulterior mediation and analysis of the methodology used for the research and a debate on the work and the resulting objects, thus inviting a crossover between their content and possible paths to reach them, opening the exchange of creative and investigative experiences with the meeting participants. Workshop: “Itrofill küme ko” (or “The kindness of water in all its shapes”) It consisted of a creative exploration workshop, with performative elements and several different artistic forms, that explored the richness of the language of water in the Mapuche world through artistic expression. Description Workshop: “Contemporary dance CUERPO LÍQUIDO” (Liquid body) Workshop: “Contemporary dance CUERPO LÍQUIDO” (Liquid body) This creative exploration workshop served as a training for contemporary dance that through Kinesiology, Flying Low, Floorwork and Release body techniques aimed to give greater awareness in movement to expand the horizons of personal and group corporality, enrich body language, and understand the body and movement in a more versatile way. It focused on the search for the relationship of the body with the ground, integrating it as an internal support and basic technical tool. The choreographic phrasings attend to the practice of organic movement patterns from which we find spirals of energy inside and outside the body, these lead to the use of minimal energy expenditure to execute movements with maximum efficiency. The technique seeks to develop a state of constant alertness without losing communication with the environment; it is an invitation to explore, reflect, investigate and create through the body and its possibilities. Workshop: “Observation and painting” The experience of this creative exploration workshop sought to encourage group observation in relation to the phenomenon of "water." The aim was to transfer the experience to the inner world, capture it through painting, and then share through conversation the individual and group reflections that emerge genuinely and spontaneously, thus creating otros saberes through unconventional paths. The selected painting technique was weton-wet watercolor. Flyers and social media used for invitation and dissemination of the Encounter Workshops and performances: Otros haceres I 24 The purpose of the Encuentros, and for these 4 workshops, was to reflect and connect with the element of water from different perspectives, understanding that absolute and definitive truth is an illusion. During the event, we built a critical yet friendly space, capable of observing the world from different angles and navigating our convergences and disagreements, using the fluidity of water as an image that allows us to navigate new flows. To begin with, the Encuentros, as a whole, gave visibility to the local conflicts around water and environment. The workshops brought an opportunity for re-thinking in depth our research methodologies, thus propitiating new, diverse perspectives and destabilising the “traditional” ways we have to understand WATER, and beyond water, nature, environment and humanity. Purpose Contributions to the constestation There was a recognition of the contributions of a non-hegemonic Western science, the understandings unique to the Earth's various Indigenous peoples, and the insights the arts offer us to reimagine our relationship with the visible and invisible world around us. In this conception, knowledge is the product of collective (co)creation. So are the experiences of contesting and reclaiming territories, as it was discussed and evidenced during the gathering, observing how different peoples and collectives build resistance and alternative ways of life in the face of multiple transgressions. Workshop: “Itrofill küme ko” (or The kindness of water in all its shapes”) Video: Encuentros con el Agua.mov Instagram: https://www.instagram.com/encuentrosconel agua/ Further information: [9] Both those analysed here, and the others documented elsewhere 9 Workshops and performances: Otros haceres I 25 1.LFollowing in the footsteps of extractivism: dialogues and reflections on peri-urban territorial conflicts in Colina. Invited and guided by: NGO Investiga Colina This body-territory workshop focused on exploring and experiencing the impacts of extractivism in the commune of Colina. Guided by the NGO members through three stops, the participants identified experienced first handed the effects of extractivism in the people, the landscape and the environment, as well as the commons and collectives struggling in contestation to these processes 2. Visit to the wetlands Ojos de Mar. Invited and guided by Ojos de Mar Foundation An emblematic site of socio-environmental conflict, Ojos de Mar in Llolleo San Antonio, was the chosen place for this body-territory workshop. Here, the participants learned about the long, multiscalar, strategic struggle of the community, explored the political, legal and social scopes of the conflict, and the non less multi-strategic manners the contestation acquired through years. 3. Exercising new/ alternative narratives At the conclusion of the event, two different moments of evaluation and sharing took place: this technical workshop was the second one, after the main “senti-pensante” evaluation, aimed to bring into action the lessons learnt by doing. Turning the new knowledge into otros haceres. The participants, divided in 4 groups, had the challenge to transform the previous evaluation moment into a collective reflection in both text and image, departing from the personal lived experience, and further co-creating a collective text with the illustrative image, and finally sharing in a plenary session the creation. In the case of this node, contestation is understood as the organized ways of defending places under threat -particularly bodies of waterthrough formal mechanisms provided for by law. But above all, the organizations' work is based on disseminating information and generating emotional ties between affected populations and threatened places. One of the contributions of this encounter was to raise awareness on the gendered impacts of territorial conflicts: the methodological processes used are strongly influenced by feminist and community-based feminist perspectives. In particular, initiatives focused on women's experiences and territories were presented at the Project Fair, such as the work of Maritorias (working with women shore gatherers in Chiloe), Chungungas (women living along the seashore), and Menstrual Territories (the relationship between young women and their menstruation and everyday territorialities). These projects were highly appreciated by fair visitors for presenting littleknown and unconventional themes and methods that reveal the invisible experiences of women in the production, reclaiming, and imagining of territory. Additionally, as a result of the event, a collaborative network was generated, with concrete collaborations and a special issue on the way. Above all, the possibility of networking, connecting initiatives and interests taking place in different parts of the country. The need arose to connect more strongly collaborative research and experiences based on other methodologies and to achieve their academic legitimisation, for which this encounter was a very important step. At the "Social cartography: body, territory and good iving" workshop Contributions to the contestation https://www.contested-territories.net/wpcontent/uploads/2024/06/chile2024ProgramaEncuentro_COMPRIMIDO.pdf https://www.instagram.com/p/C4dkgrPomNt /?img_index=1 ENCUENTRO METODOLOGIAS OTRAS 2024 "Metodologías otras" - DISPUTAS TERRITORIALES, DIÁLOGO DE SABERES Y FUTUROS — Contested TERRITORIES Further information: Programme Instagram Video Blog Workshops and performances: Otros haceres I 32 Urban Prefigurations Timeframe May 2024 (Nuevo Alberdi, Rosario, Argentina), July 2024 (Maestranza Ukamau, Santiago de Chile, Chile), August 2024 (Ocupação Vitória, Belo Horizonte, Brazil) Lead network node Newcastle University, United Kingdom Representatives of the nodes: University of Chile. University of Buenos Aires (Geography Department), Argentina. Torero Films, Spain Other representatives: Ciudad Futura (Rosario, Argentina), Ukamau (Santiago de Chile), and Brigadas Populares (Belo Horizonte, Brasil). Diverse community leaders and experts from Argentina, Brazil and Chile Participating actors Community allotment, Vitória occupation, Belo Horizonte Urban Prefigurations is the name of a project within the CONTESTED_TERRITORY Network working group on policy mobilities. Its main aim is to document the experience of social movements and communities in engaging in social innovation practices. The initiative is based on critical territorial visits carried out in 2022 and 2023, where interviews with social movements, political groups, communities and residents were conducted, complemented by the analysis of archive material. The filming of the audiovisual material with the participating communities took place in May 2024 (Nuevo Alberdi, Rosario, Argentina), July 2024 (Maestranza Ukamau, Santiago de Chile, Chile), August 2024 (Ocupação Vitória, Belo Horizonte, Brazil). The title of the project also gives the name to a digital platform, currently under development, where audiovisual material will be available for the dissemination of community knowledge. The digital platform will also present a web series (10 miniepisodes of 5 minutes each) detailing practices of the movements of three case studies, capturing experiences of social movements, community leaders and experts from Argentina, Brazil and Chile, and, at a later stage, also a feature film. At the core of this work are conflictual and insurgent practices that challenge the commodification of urban life and space. These include anti-eviction campaigns that resist displacement, grassroots mobilisations that have successfully pushed for ordinances banning the construction of private gated neighbourhoods, and collective processes for coproducing neighbourhood masterplans that reflect the lived priorities of residents rather than speculative interests. Context of the activities The original idea to develop a municipalist platform for documenting diverse forms of knowledge came from a social movement, and the proposal to create audiovisual material for each experience was jointly developed by the Contested Territories nodes of Newcastle University, University of Chile, University of Buenos Aires (Geography Department), with the same movement that conceived the initiative. This project seeks to give continuity to and conclude the line of work of the Working Group of Policy Mobilities - policy and knowledge circulation, which was born as a sub-working group in 2020 within the Working Group of Critical Policy Analysis. More specifically, it focuses on work on the circulation of counter-hegemonic knowledge and alternative practices of inclusive territorial development linked to the new municipalism movement. Workshops and performances: Otros haceres I 33 Brasil Territory Belo Horizonte Argentina Rosario Chile Santiago de Chile Urban Prefigurations is the name of the WG Policy Mobilities' mini-project documenting the experience of social movements and communities which produce social innovation and bottom-up knowledge, and it is structured through what we denominate scaffold workshop. In this case, different ongoing projects of the CT network were intertwined through a workshop that gave origin and helped in planning the mini-project. The next instance was the design of the platform and the production of the docuseries, with all the necessary tasks for that, which are not workshops in themselves. Through the length of the project, workshops were held either with technical or logistics purposes, sustaining the whole process. Following the engagement with various social movements in Argentina, Brazil and Chile, it was decided to develop a digital platform to collect and disseminate this knowledge. The innovations that these practices generate are the focus of the video interviews that form the basis for the docuseries. All innovations have in common proposals for more democratic and inclusive territorial development that were produced by community actors operating outside formal institutions. All the movements were contacted to confirm their support and filming began in 2024. Before each visit, the theme of the interviews, the questionnaire, the profile of the participants and the format of the episodes were jointly defined. Each edited episode was shared with the movements for their input and subsequent conclusion. Each video interview with residents, community leaders and social movement representatives aims to describe how they make important changes in the life of their neighbourhoods. The final results -in the form of a digital platform, webseries and feature filmare intended as a form of dissemination for community learning, enabling social movements and actors from different cities to share their knowledge and connect with other groups. Three main products of this collaborative work are presented as a result: 1.Digital platform “Urban Prefigurations”, to be continuously updated beyond the end of CT project (launched: January 2025); 2.Docuserie “Urban Prefigurations - Popular Planning” (10 mini-episodes): the series will offer 10 short films on strategies and tools for territorial community development based on case experiences. It will be accessible in language and format, and oriented to other civil society organisations and activists (over the course of 2025); 3.Feature film (title to be defined): it will focus on the right to the city in Latin American cities and the role of civil society organisations in devising and implementing alternative strategies for inclusive social and spatial development. It will be aimed at the general public and for educational use (July 2025). The contribution of the initiative to contestation is fostering a systemic change in the way neoliberal capitalism produces unequal urban lives and spaces: this translates into documenting and visualising this territorial dispute, and understanding and disseminating alternative approaches to sustainable and inclusive territorial development. For instance, in many of the documented experiences, these are neighbourhoods where eviction processes are underway. In addition, the initiative facilitates the exchange of knowledge and experiences, to strengthen and develop an ecosystem of municipalist policies and instruments. Interview with residents, Vitória occupation, Belo Horizonte Description of the activity Outputs and contributions to the contestation 10 Description of the activity Urban Prefigurations foregrounds community knowledge that emerges directly from the experience of movements and communities in their struggle for the right to the city. Knowledge generated by these communities is directly related to their practices to advance in the defence and improvement of local territories. Replicability is also a main focus of the Urban Prefigurations project. Through documenting different activities in a docuseries, the aim is to disseminate community-based thought and related practices via a platform geared to interested movements, activists and researchers based in other territorial settings. Collaborative platform: urbanpref.com Instagram: Urban Pref (@urbanpref) • Instagram photos and videos Further information: Workshops and performances: Otros haceres I 34 Participating actors International Seminar Touristification and commodification of Nature. Debates and proposals Timeframe From 23 to 25 October 2024 at La Laguna University (Tenerife, Spain) Lead network node Universidad de La Laguna, Canarias, Spain (coordinator). Universidad de Buenos Aires (FAUBA), Argentina. CEUR-CONICET, Argentina. Universidad Autónoma de Madrid, Spain. Left Hand Rotation, Spain. Habita65, Portugal Representatives of the nodes: Universidad de Chile. Universidad de la Frontera, Chile. PUCJ Cali, Colombia. Facultad de Antropología, University of Buenos Aires, Argentina. Politecnico of Milan, Italia. University of Sheffield, United Kingdom. Basurama, Spain. CEUR-CONICET, Argentina. Ciudades Reveladas. Flacso, Ecuador and CEPLAG/IIADI, Bolivia Other representatives: Academic institutions: University of the Balearic Islands, the Canary Islands Institute of Agrarian Sciences and the Iriarte School of Tourism. Ecosocial collectives: Asociación Tinerfeña de Amigos por la Naturaleza, Salvar La Tejita, Salvar El Puertito, Canarias Pa'Lante, Fundación Canarina, Fundación Telesforo Bravo - Juan Coello, Environmental Department of La Orotava’s City Council Context of the activity Following the input of several working groups of the Contested Territories network in different regions of Latin America and Europe, the initiative offered a space for dialogue on these topics. It was part of a participatory process called “Canarias pa'lante” and its aim was to present different perspectives not only from the Contested Territories network, but also from social collectives, artists and researchers. Organised in different venues on the island of Tenerife, the activity took different formats such as debates, talks, presentation of case studies (in presence, online and hybrid modalities). The activity was structured around different axes that addressed some key aspects of the topic of touristification and involved the different collectives in the co-production of the event. [11] See, for instance CANARIAS: MANIFESTACIONES multitudinarias contra la "MASIFICACIÓN" TURÍSTICA | RTVE Noticias or CANARIAS: Una MANIFESTACIÓN contra el TURISMO MASIVO une a las SIETE ISLAS del ARCHIPIÉLAGO | RTVE or Las protestas vuelven a recorrer el archipiélago canario para pedir un turismo más sostenible: "Canarias tiene un límite" The seminar “Touristification and Commodification of Nature. Debates and Proposals” brought together national and international experts to reflect on the processes of appropriation of nature by tourism initiatives, which generate situations of social inequality and stress on the environment. The initiative, coordinated by Universidad de La Laguna, with the participation of several other nodes of the Contested Territories network, started a debate between environmental groups, social movements, artists, and academic researchers from different institutions. This initiative, carried out in Tenerife, arose in response to the recent and intense protests that happened in April 2024 (and also a few days after the end of the seminar) in the Canary Islands, against the processes of touristification and commodification of nature. 11 Seminar participants at El Rincón (La Orotava) Workshops and performances: Otros haceres I 35 Territory Spain Tenerife As part of the fieldwork, participants went on a visit to a site symbolic of the struggle to defend the territory: El Rincón (La Orotava) with presentations from social and environmental groups and speakers (Ben Magec – Ecologists in Action, El Rincón Coordinator, Save La Tejita Platform, Save El Puertito Platform, ATAN, Canarias Pa’lante). The aim of this body-territory workshop was to present diverse perspectives on the processes of touristification and the commodification of nature, but most particularly, to have a lived experience of the territory, the nature and the landscape, putting the body and the senses in interaction with the site, while fostering dialogue with social collectives. The participant environmental groups have been struggling against the effects of touristification and commodification of nature, and this joint activity with CT members sought also to put forward holistic proposals for action. One of the key contributions of the initiative was its ability to foster a meaningful exchange between academic actors and collectives engaged in environmental and social struggles. This collaboration extended beyond academic boundaries and enabled the strengthening of ties with organisations actively involved in resistance processes, including both community members and technical experts. The field excursion and related debates served as particularly rich moments of colearning, where new forms of protest and potential topics for future audiovisual productions were identified. Environmental issues emerged as a central element in the articulation of contestation, particularly in geographically constrained and ecologically vulnerable spaces like the Canary Islands. Contestation cannot be understood only as street demonstrations, but can be translated into diverse and creative forms, such as the production of audiovisual materials. These tools are powerful and promising, especially given the diffusion of stereotypical imaginaries connected to the landscape of the Canary Islands. In this context, the creation of counter-audiovisual narratives can serve to challenge dominant representations, give voice to dispossessed communities, and highlight their forms of resistance. The seminar was organized into: talks and presentations on case studies; audiovisual productions; and sites explorations (that we describe below); These alternative narratives help to broaden the understanding of contestation itself—not only as protest in the public sphere, but also as strategic communication, symbolic action, and knowledge production. The initiative also contributed to the ongoing participatory process ‘Canarias Pa'lante’, which emerged from the April 20th demonstrations in the Canary Islands, and helped to articulate a collective critique of the commodification of nature, as well as other related transformation processes in housing and public coastal spaces, and to develop responses grounded in local contexts. A significant conceptual output of this work is the debate on the idea of nature. Rather than seeing nature merely through the lens of scarcity and protection, in the context of the workshop nature was understood as a non-human entity deeply intertwined with social reproduction—an appropriated and appropriable space which can be a guarantor of enjoyment, of non-urbanisation or of its degradation. This view becomes especially meaningful in the insular context of the Canary Islands, where geographic limits redefine the context of these non-human natures and provide a political scale for imagining emancipatory processes—what some frame as the right to the island. The exchange beyond academia allowed to strengthen ties between organizations that carry out resistance processes and technical experts, the initiative generated new knowledge, built networks of solidarity, and expanded the repertoire of resistance. International Seminar's banner. Description of the activity Outputs and contributions to the contestation: Programme: Programacion.pdf Further information: Workshops and performances: Otros haceres I 36 Lead network node Participating actors Timeframe From 19 to 22 March, 2024. Cali, Colombia Pontificia Universidad Javeriana Cali, Colombia Representatives of the nodes: University of Newcastle, United Kingdom. University of Sheffield, United Kingdom. University of Leeds, United Kingdom. Instituto de Investigación y Acción para el Desarrollo Integral - IIADI, Bolivia. Other representatives: Communication Law Research Seminar of the Pontificia Universidad Javeriana Cali. Gobernación del Valle del Cauca. Monkox Chiquitano People, Santa Cruz, Bolivia. Habitancia de Aguablanca network. Asomevid (Asociación Mejorando Vidas). Embera Chamí, community of the Guasiruma reserve. Trans women members of Transmujer. Institución Educativa Nuevo Latir, Aguablanca. Fundación Son de mi Gente, Aguablanca, Trono Theatre group, from Bolivia. International Symposium: Coexistences and Struggles for the Inhabited Space Context of the event The initiative was made of different workshops which took place in March 2024 at the Pontificia Universidad Javeriana in Cali, in the Aguablanca District, in the city centre of Cali, in the indigenous reserve Wasiruma, in the rural area of the municipality of Vijes in Cauca Valley. The Symposium set the scene for an exchange between academics from the CONTESTED_TERRITORY network and social representatives from Bolivia, Chile, Ecuador and Colombia, through an itinerant event with communities in south-western Colombia, in order to reflect on the social practices of youth, indigenous, Afro-descendant and LGBTQ+ communities concerning the assimilation and the resistance to processes of Territorial Accumulation (TA). The aim was to develop a collaborative experience in dialogue with Latin American popular knowledge, to make visible existing practices of innovation and to generate alternative knowledge on the polysemy of Territorial Accumulation. This took the form of itinerant meetings - walking reflections with communities, groups and collectives active in urban and rural contexts of Valle del Cauca, for the discussion of possible coexistence in the framework of social struggles for the inhabited space-, and a series of podcasts, aimed at the cross-cultural comparison and dissemination of the organisational and research experiences managed by the event's participants. The symposium arises from the demands for cultural recognition, economic redistribution, political representation and participation, and environmental justice in different communities (Aguablanca district, centre of Cali, Guasiruma Indigenous Resguardo, Valle del Cauca). Cisgender women, trans women, indigenous communities and Afro-descendant communities construct distinct forms of a moral grammar of social conflict. While certain dimensions of their actions are shaped by specific cultural Workshops and performances: Otros haceres I 37 Territory Colombia Santiago de Cali struggles a comparative perspective that emerges through the traversal of their territories reveals striking commonalities in their demands—particularly those concerning water quality, the right to safe mobility within their lands, and the remediation of environmental degradation, among others. These series of material demands are, transversally, claims from the inhabited space. The communities were actively involved in organising the activities, and agreements were reached to allow passage through their territories. Meetings and group interviews were useful tools to understand community perspectives. The routes were planned with attention to issues of territorial accumulation. Both urban and rural contexts were addressed, focusing on conflicts related to territorial use. The five-day meeting was aimed at developing a walking dialogue across communities in Valle del Cauca, enabling the “learning by walking” or “learning with the body” through an academic and experiencebased resource. The first day began with a ceremony facilitated by Windsor Torrico (Bolivia node). There was a space where two books were socialised. The technical workshop: “Production of podcasts” was developed with the objective of enhancing narrative skills of social struggling groups through oral products. And to actually produce one podcast to narrate the intertwined struggles of diverse communities and collectives in Latin America, facilitated through CONTESTED_TERRITORY network. The musical “Dónde meter la cabeza” was presented, an artistic work by children from the Marroquín II neighbourhood in which they narrate the history of the neighbourhood at the end of the 20th century and the urban conflicts of the beginning of the 21st century. The second day’s activities included a series of talks and presentations of leadership experiences of LGTBIQ+ activists and transgender women who participate in political processes related to the claims of sexual rights and the use of public space in Cauca Valley. In the afternoon, the last activity was a “Reflexión caminada” (walking reflection): a body-territory workshop going all over the Centre of Cali with the guidance of Pamela Montaño, from Fundación Transmujer, who facilitated the observation and experiencing of the city with a gender perspective. On the third day, the walks and exchange of knowledge in the territories continued with visit to the experience of ecotourism and recovery of Charco Azul Lagoon. Then a meeting with the organisations part of the Habitancia network -an association for social innovation and peace building in Aguablanca. where the concept of Habitancia was discussed and nurtured with the contributions of the participants. And the end of the day was marked by the body-territory workshop or “reflexión caminada” through Bulevar de Oriente, a project that recreates a platform for living and restoring public space based on new ecologies. The soil, water, air, sun, flora, and fauna, along with recreational, leisure, cultural, and educational activities, and agro-ecosystems, create a system that connects people, providing experiences that build a culture of environmental belonging within the community. Floodable gardens capture the memory of water through temporary landscapes; the Bulevar del Oriente is a platform that enables the transformation of a community by empowering and recognising its cultural values. The crew of "Dónde meter la cabeza" Opera-salsa, with members of CT network Description of the activities [12] The first book entitled: ‘Nuestras Luchas Cuentan’ (Our Struggles Count), which describes the struggles of young indigenous women in Santa Cruz (Bolivia) narrated through oral histories and photographs taken by youth activists. And the second book was entitled ‘Peace in Aguablanca’, and presents territorial peace processes in low-income neighbourhoods in eastern Cali. Paz en Aguablanca. Aproximaciones [13] See the full documentation on Section 2: Performances, below Son de mi Gente, from Aguablanca and Trono group, from El Alto (Bolivia) together at the Symposium 12 13 Workshops and performances: Otros haceres I 38 Fresneda, in the municipality of Vijes, a rural area of Valle del Cauca. The participants were received and sustained a fruitful dialogue with the leaders of the community, discussing similarities and particularities of the processes of territorial accumulation and contestation. The last activity was the third bodyterritory workshop of the day: a “Reflexión caminada” through Calima, Darien. On the fifth and last day, a podcast was recorded to reflect on the experience of situated dialogues. The main output of the symposium was a series of territorially situated exchanges based on dialogues of knowledge that embrace difference and horizontality between actors. Indeed, the event contributed to the discussion of bottom-up initiatives related to cultural, economic, and political innovation, as well as the visibility of traditional knowledge and practices, which address the consequences of territorial exploitation, displacement, and the commodification of the environment and nature. The technical workshops favoured the exchange of knowledge on how territorial accumulation processes lead to assimilation or resistance practices in the contexts of Bolivia, Chile, Ecuador and Colombia. In the itinerant events, participants learned from community experiences of public deliberation and social protest against territorial accumulation in Colombia. This meeting was attended by Afrodescendant urban communities and organisations, the population of an indigenous reserve and representatives of sexual and gender diversity collectives. Overall, the event promoted co-creation, participatory analysis and public dissemination of knowledge. For this reason, narrative methodologies -such as co-creation of a podcastwere deployed to compare and contrast experiences of territorial reclamation based on ancestral, popular or dissident knowledge. The activities were structured with expressive exercises that allowed participants to learn about the history of their territories. Particularly, the performative experiences sought to demonstrate the impact of the externalities caused by the inadequacies of the state in addressing the crises caused by violence and the dispossession of the rights of these communities. This is the case with Dónde Meter la Cabeza (Where to Put Your Head) and the exchange generated with the Trono group. They were able to share insights that challenge the order of injustices occurring in Cali and El Alto. The contestations refer to performative experiences that seek to demonstrate the impact of externalities caused by injustices. The Symposium achieved to present Colombian experiences that have made dialogue possible with State entities that have found their territorial claims justifiable. Such processes contribute to the study of how ancestral, popular, and dissident knowledge can influence the deliberative scenarios provided by the State. CT network researchers at work Outputs and contributions to the contestation Marzo 19,22. 2024_compressed (1) - Carlos Tobar.pdf Realizamos el simposio internacional: Convivencias y luchas por el espacio habitado en Cali, Colombia — Contested TERRITORIES Secretaría de Equidad Valle | En la @gobvalle creemos en la importancia de la diversidad y la inclusión. La Administración departamental hizo parte de las jornadas del... | Instagram https://www.youtube.com/watch? v=VPXlAgeK9UU&list=PLTMiKlYnU5HIDOfL4G Y2Ct55PNhGek1jC&index=3 Further information: Programme Blog Instagram Podcast Workshops and performances: Otros haceres I 39 Food as a Field of Contest: Alternatives in Production and Marketing as Practices of Resistance in Berlin, Madrid, and Buenos Aires Timeframe From 2022 to 2025 in Berlin (Germany), Madrid (Spain) and Buenos Aires (Argentina) Lead network nodes Faculty of Agronomy, University of Buenos Aires, Argentina. CONICET-CEUR, Argentina. Torero Film, Spain Other representatives: Family, eco, and organic farmers, producers and fairmarchants Participating actors Berlin Audiovisual Summer School workshop Context of the event This research project was derived from the Berlin Summer Audiovisual School (2022) and the Audiovisual Laboratory of Madrid (2024), which gave it structure as a scaffold workshop. The aim of this School was to invite CT researchers to experiment with different methodologies outside of their usual academic work and backgrounds, encouraging them to acquire and put into practice new narrating skills and languages. It focused both on practical exercises -learning by doingas in theoretical sessions, with the expectations of concrete audiovisual products as its outputs and being followed by experimental art events, performance presentations, etc. The training in Berlin lasted 5 weeks: it involved technical and creative exploration workshops, field visits, and consulting sessions for the participants’ audiovisual projects. The participants (from more than 5 different countries and nodes) got the opportunity to familiarize themselves with the technical aspects of audiovisual media; dramaturgy and aesthetics of audiovisual media (and performance), including the approaches and distinct narrative styles of each filmmaker and each genre; analysing the different formats at existing levels (YouTube, Facebook, WhatsApp, Twitter, TikTok, etc.), and approaching "new" audiovisual techniques. The second part of this training initiative took place in Madrid, and convened 24 researchers from Argentina, Bolivia, Colombia, Chile, United Kingdom and Portugal: with a duration of 10 days it was focused on carrying out, producing and editing audiovisual works derived from ongoing research and social intervention processes in different territories. Workshops and performances: Otros haceres I 40 Spain Germany Territory Madrid Berlin Argentina Buenos Aires This initiative comes from a cooperation between the Faculty of Agronomy of UBA and the CEUR (Argentina) with the purpose of exploring the construction and implementation of alternative forms of food production and marketing, in a comparative analysis of Latin American and European markets. The selection of experiences for the trilogy took into account those that problematize the human-nature relationship, as well as the economic logics promoted by neoliberalism, confronting them with alternative meanings and practices, interpreting these as forms of resistance and contestation to the hegemonic model. In the course of the initial workshop in Berlin Summer School, the team drew the general programme of research and consulted it with the director and colleagues. While the shootings of the German and Spanish experiences were held simultaneously with the respective training workshops, the Buenos Aires one took place after the end of the course. Through a series of interviews, the audiovisual trilogy recovers the practices and perspectives of agroecological producers, consumers, members of consumer cooperatives, fairgoers, among others. Among the myriad of perspectives, emerged the hegemonic and counter-hegemonic meanings of what is considered environmentally sustainable production vis-à-vis different ways of interpreting and implementing the economic exchange of food. For example, the European Union's definitions of what constitutes environmentally sustainable production are valued and challenged, for instance, the forms of commercialization carried out by supermarkets - which involve exploitative labor relations and/or longdistance transportation of food, with the resulting carbon footprint-. These definitions and practices are thus challenged by other actors who observe that the label of “ecological” cannot be restricted to the controlled/reduced use of industrial inputs but must also consider local products and/or labor relations and/or forms of social and solidarity economy. Hence, greenwashing is problematized, and environmental and health issues are reintroduced into food production as objects of dispute. The method used was audiovisual production, which surveyed interviews and practices, seeking to capture the meaning created -consciously and/or unconsciously, individually or collectivelyby the participants. The observation captured through the camera resulted in a powerful resource for visualizing and highlighting every day and collective practices that are not always recovered and/or valued in discourse. The Trilogy premiere took place during the 5th Ciudades Reveladas Festival, in Madrid (May-June 2025), contributing with the objectives of the Audiovisual School and Lab towards collective visualisations and debates of the products. Regarding the training workshops directed by Torero during both the Summer School and the Lab, the new abilities and skills acquired by the researchers allowed them to explore new languages and supports, and consequently, new approaches to the perspectives, ideas, and meanings of the communities they work with, thus multiplying and enhancing the visibility of their resistance and disputes. Specifically speaking, the CEUR-FAUBA team project, through the documentary audiovisual trilogy, restores the production and marketing of "alternative" foods as a space for dispute and makes it possible to denaturalize some categories of classification of these practices by government entities, which are presented as neutral and/or technical -"agroecological", "bio", etc-. By contesting these alleged natural categories, the trilogy makes evident their political nature insofar as they are functional and/or promote market logic and with them the forms of organization and social hierarchy that derive from the neoliberal model. The documented alternative practices can reveal other ways of thinking about and producing the world. Image depicting the filming process in Berlin Description of the project Contributions to the contestation Image depicting the filming process in Berlin 12 13 Workshops and performances: Otros haceres I 41 Project Experimentation and Infrastructure Development Urbanism workshop in Camino de borde - Costa del Lago y 8 de Mayo neighbourhoods of Buenos Aires, Argentina Timeframe March 2024 to March 2025. Buenos Aires (Costa del Lago y 8 de Mayo). Argentina Lead network node National University of San Martín, UNSAM. Argentina Students and Professors of: TEP-Taller de Experimentación Proyectual (Project Experimentation Workshop), LET-Laboratorio de Experimentación Tecnológica (Technological Experimentation Lab) and TU Taller de Urbanismo (Urbanism Workshop) at the School of Architecture, UNSAM. Argentina. Representatives of the nodes: Basurama, Spain. Ciudades Reveladas Other representatives: Centro de Investigación sobre Territorio, Transporte y Ambiente, Escuela de Hábitat y Sostenibilidad, UNSAM. DISU-Dirección de Integración Socio Urbana Municipality of San Martín. Merendero Rincón de Esperanza/Cooperativa 9 de Julio, Barrio 8 de Mayo. Cooperativa Proyectar Igualdad, barrio Costa del Lago Participating actors Context of the initiative Additionally, as previous experiences demonstrate that mobile technology fosters a more participatory approach to urban assessment, allowing for more dynamic and immediate involvement of residents compared to traditional participatory methods, it is hypothesized that coassessment of public space in informal settlements, combining the results of technical studies with perspectives derived from participatory approaches enhanced by digital technologies, can lead to innovative urban diagnoses and proposals based on local knowledge and practices, improving habitat quality and the capacity to respond to various environmental challenges. Furthermore, the information thus collected provides a more precise and immediate set of data, images, and locations, available for periodic review and evaluation, which is essential for implementing sustainable solutions over time. This research project is a collective learning experience for the development of community infrastructure in neighbourhoods without access to basic services, built upon a rubbish dump. The one year long scaffold workshop emphasizes listening to the inhabitants of the neighbourhood as a methodology for co-producing knowledge and participatory building of the commons. Academic activity in vulnerable territories, through practices of listening and purposeful reading for the construction of facilities and habitat improvements, implies a new conception of the discipline and territorial knowledge. This type of approach has an aesthetic impact with a political dimension, which entails a deep commitment to the production of expectations that must not be disappointed, and which is directly immersed in the conditions and ways of life of people who entail a future fraught with various kinds of deprivation. Territorial visit to 8 de Mayo neighbourhood, San Martín, Buenos Aires. Workshops and performances: Otros haceres I 48 Argentina Territory Buenos Aires metropolitan area The collective thinking exercise that then takes place consists of interpreting everything heard in conversations with the community and project users, and then developing a framework that brings together needs, physical and infrastructure requirements, the possibility of construction in stages, potential growth, hypotheses for flexibility and transformation of spaces, and an understanding of the project's ultimate scope. At the same time, the "co-evaluation" of public space allows for an understanding that goes beyond objective data from technical surveys, incorporating the perceptions and experiences of users. The workshops and participatory meetings for the development of ideas and projects have been carried out during the year 2024, both in the Institute of Architecture and Urbanism of the EHyS UNSAM, as well as in the headquarters of the social organizations, the Merendero Rincón de Esperanza and the 8 de Mayo Community Center, and at the headquarters of the DISU (Socio-Urban Integration Directorate of the Municipality of San Martín). There were three technical workshops held in 2024, which served as axes of the process: TEP-Taller de Experimentación Proyectual (Project Experimentation Workshop), which structured the groups of students in their collective work on the community facilities program, and where they formulated the different proposals; LET-Laboratorio de Experimentación Tecnológica (Technological Experimentation Lab) which organised the works made on the technological component of the project, always in dialogue with all the stakeholders involved; and TU Taller de Urbanismo (Urbanism Workshop) in which the proactive analysis of the public space was conducted, through meetings and visits to the neighbourhoods adjacent to Camino de Borde, including Costa del Lago and 8 de Mayo. While the main purpose was to develop an architectural and urban planning proposal together with the resident community of Costa del Lago and 8 de Mayo, achieving the production of a common good in an area of extreme vulnerability, the project also aimed to analyse the accessibility and daily mobility, waste management, and the creation of community networks. This scaffold workshop comprising an academic, curricular, and community series of workshops, as well as field visits and participatory meetings, was a year-long, temporary development which began in March 2024 and ended in mid-2025. The undergraduate students and teachers of Architecture (UNSAM) explored the community's needs and struggles, and developed a preliminary project in collaboration with neighbours, representatives from social organizations, and the Directorate of Socio-Urban Integration of the Municipality of San Martín. The methodology was based on the fulfillment of three concepts that are developed at different times: the practice of listening, collective construction workshops and the "co-evaluation" of public space. The processes of conversation, listening, and interpretation operate here as a design strategy and as a device for producing trust, reciprocity and affection. The development of these projects has an initial stage of conversation and public interviews, established as an exercise in knowledge collection that attempts to gain a first understanding of the topic and the problems to be solved, as well as to understand future projections and their limitations. Students' proposal for the project experimentation workshops Purpose Description of the activities Territorial visits and Neighborhood mapping as part of the project experimentation workshops Workshops and performances: Otros haceres I 49 The program has been developed collectively, and the students have formulated 12 different proposals for the site projects that were afterwards presented to the community with the goal of fostering a dialogue in which consensus was built and the advantages and disadvantages of each were evaluated, thus selecting the most viable alternative. The results of this analysis, consisting of a georeferenced mapping of variables related to the use and condition of these spaces will presented in a workshop to be held in the neighbourhoods, where it is planned to work with territorial coordinators on the methodology for the participatory diagnosis phase that will begin in March/April 2025. The development of a common roadmap allows for proactive readings on an urban scale and a series of architectural projects emerging from a core of agreed-upon needs that, in turn, interpret and find diverse work scenarios and are subject to different kinds of imaginations, which constitutes a manner of contestation in itself To conclude the initiative, during 2025, the first phase of the community facilities is being built collectively, involving students and social organizations. At the same time, progress is being made in the application of mobile technology to record the problems perceived by the residents of Costa del Lago and 8 de Mayo regarding the daily use of streets and corridors. These instances of experience and collective work represented an opportunity to recover the social value of Architecture as a discipline, an opportunity to transfer the emerging social issues occurring in our territories into technical knowledge, based on the construction of networks with social actors, local governments, and the community. In this context, these experiences are fundamental to the training of the students and have been integrated as a part of the program's curriculum. Although, it is important to remark that these projects are rooted in artisanal methods and are site-specific: they cannot be replicated uncritically, or subjected to rigid structures or procedures, as each approach deserves to be reconsidered from the very beginning. They cannot be considered as devices to be massproduced, because each social connection, each material connection, each resource financing requires a specific method of implementation. Therefore, these courses represent a permanent challenge for the teachers and researchers not to automatise the implementation, which would make them lose their potential for contestation (both for the communities and the academy). At the urban level, a proactive analysis of the popular neighbourhoods adjacent to the Camino de Borde was conducted in collaboration with the DISU (National Urban Development Union), focusing on environmental issues (waste disposal, flood zones, vegetation and absorbent soil), accessibility, the presence of infrastructure, and the configuration of micro-centralities. This work served as the basis for a subsequent, targeted survey of public spaces (streets, corridors, and sports fields) in the 8 de Mayo and Costa del Lago neighbourhoods, conducted by CITTA researchers and fellows. Outputs and contributions to the contestation https://www.instagram.com/p/DIMQgPgxmn 3/?img_index=1 Further information: [14] In the end, the selected project was the one proposed by Valeria Martínez & Facundo Solfori. 14 Territorial visit to Costa del Lago neighbourhood, San Martín, Buenos Aires Workshops and performances: Otros haceres I 50 Workshops and performances: Otros haceres I 51 Section 2: Performances and Theatre Performances and Applied Theatre as Research Strategies A territorial performance is a “cultural device for exploring space and time through the body. It allows knowledge to be generated and transferred by bringing into play social knowledge, memory and a sense of identity through actions in the spaces involved” (Nanclares da Veiga, A; García Pérez, E; Ramos, J; Ugalde, N; Kanai, M: 2024, pp.34). Unlike other forms of theatrical performances and conventional theatre, it has an “ephemeral character in a given time and space and can be a multidisciplinary discourse but always involves placing people's own bodies in the territory involved, seeking to question and mobilise collectively and politically around what is chosen to work on the chosen theme” (Nanclares da Veiga, A; García Pérez, E; Ramos, J; Ugalde, N; Kanai, M: 2024, pp.34). This people, involved as spectators and/or local participants, will not interpret a role as it is expected in a stage performance but will bring their own embodied identities into the “exploration of the bodily movements, gestures and sounds as an alternative way for the collective production of knowledge and generation of reflexivities” (Citró: 2016, pp.272our translation). The performative act itself may have a guideline - more like a flight plan than a scriptbut shall leave some room for improvisation. If pertinent, the deployed techniques may include the use of props and even building an (art) installation as a support for the evocative or sensorial exploration. However, most of the times, it is only about the bodies interacting within the site. The territorial performance may be either the motive for, or the result of a research: its aim is to explore, to build and to disseminate new knowledges/ otros saberes and meanings, through alternative methodologies/ otros haceres. Thus, even if the spectators become protagonists -or “spect-actors”- in the process, it requires, as any research methodology, trained researchers, with a set of skills seldom taught in formal educational environments. In that sense, as we pointed out in the previous section, within the CT programme there have been several workshops aimed to train our researchers and to encourage them to incorporate those “otros haceres” into their methodological strategies. That happened, for instance, with the workshop on creative exploration that José Vidal co-ordinated within the Metodologías Otras gathering in Chile where the participant researchers got to experiment with their bodies and emotions towards the construction of an investigative strategy. Likewise, during the Encuentros con el Agua there were several creative exploration workshops offered, seeking to enhance the abilities and skills to endeavour to use this sort of methodologies, like the Dance workshop "Cuerpo Líquido" (Liquid Body), the one for “Observation and painting”, and the creative exploration workshop “Itrofill Küme Ko" (The kindness of water in all its shapes). These experimental methodologies -these otros haceresdo not always stick into a perfectly closed category: the ways of our quests interweave art and performance, either as an activity or as a strategy, co-living during the process and in the products of research. In words of David Atencio (2024): “The performance; this hybrid and spongy concept invites to move about different areas and, even, to get lost in between the borders that divide one discipline from another”. In fact, although territorial performance originated as an artistic quest, it resulted afterwards in a transdisciplinary research strategy -paraphrasing Citró, something in between art, ritual and science (Citró, 2018). This is the reason why we document and discuss in this section not only the performances that actually took place within the framework of Contested Territories, but also some other quests like applied theatre plays, or mixed products that, without being performances in the strict sense of the notion, draw on performative elements: we want to focus precisely on the methodological potential of performative and theatrical methods of research both for co-production of knowledge and contribution with territorial contestation. The body believes in what it plays at: it weeps if it mimes grief. It does not represent what it performs, it does not memorize the past, it enacts the past, bringing it back to life. What is 'learned by body' is not something that one has, like knowledge that can be brandished, but something that one is. This is particularly clear in non-literate societies, where inherited knowledge can only survive in the incorporated state. It is never detached from the body that bears it and can be reconstituted only by means of a kind of gymnastics designed to evoke it, a mimesis […] (Bourdieu, Pierre: 1990, p.73) Workshops and performances: Otros haceres I 52 As Peter Peksovsek explains, there is no consensus on the name of these unorthodox, heterogeneous forms of theatre, nor about their precise characteristics. For instance, applied theatre is a broad term for using theatrical techniques and principles in non-traditional settings and with specific goals beyond entertainment. It is also common to refer to it as community theatre, and moreover, in Latin America there are some specific branches, like Teatro del Oprimido. “Community, applied or street theatre, in any case, is not a refined or professional product. Perhaps many of the participants have never performed before. The accent of these initiatives is on the process of construction, empowerment and contestation” argues Peter Petkovsek. Nonetheless, there are some distinctive elements of applied theatre -as in contrast with territorial performances-. To begin with, the product (play) is the result of the research, rather than its starting point as it may be in performative approaches. As a second element, theatrical processes involve the cocreation of a more traditional script: even if it may leave some room for improvisation, most of the action is deliberately planned and rehearsed. And, most importantly, this leads to the notion that plays, through scripts and ulterior acting, work with words: in form of dialogues or monologues, as background effects, oral or written, the narrative relies mainly on the expression with words, rather than or articulated with expression with the bodies (which is the essence of territorial performances). The third element of distinction we identify is related to techniques: even if non-traditional theatrical explorations make use of a myriad of mixed techniques, many of them derive from classic theatre antecedents, including acting, playbuilding, improvisation, storytelling, etc. However, some of the plays include other “less traditional” elements, such as art installations, audiovisual artifacts on stage, dance and even ritualistic moments, as it is the case of “Aillaquillén, the Island of the nine moons”. However, beyond these differences, the borders between applied theatre and territorial performance methods are diffuse, and they share several elements: the starting point, for instance, is always based on the lived experiences of the participants. As Peter Petkovsek explains, “the first step is always to listen to what the community -or at least, those who are co-creating the playdecide strategically they want to address at that particular moment”. Likewise, the participatory approach is essential for applied theatre and performative practices. The main goal is to engage the community in the process of cocreation in whichever role each participant chooses to play: from the exploration of memories and lived experiences, to performing them, or simply as spectators who may discover themselves relating deeply with the narrative, beyond entertainment. Additionally, both territorial performances and applied theatre plays usually take place in nontraditional/ site specific settings, instead of formal theatre institutions, which is not only consistent with the participatory approach and the aim to favour the community engagement, but also constitutes a strategy for territorial contestation and reclaiming. In essence, both theatrical and performative research methods seek to explore the ways in which emotions, affections and senses incarnate in the subjects creating individual and collective meanings and producing everyday practices. Thus, considering territorial performances and applied theatre as scientific devices puts into question, on the one hand, the very nature of knowledge creation and sharing, as it states that “what we learn by body” (Bourdieu, P: 1990, p.73) -either dancing, lying in silence or interacting with the elementsis not less important than what we learn through words. And on the other hand, it opens horizons for new territorial practices: while demonstrating that we can explore through senses those knowledges and memories sedimented and incarnated through habitus, and thus expose them, reveal them through “embodied reflexivity” (Citró, S: 2018 pp.3), we can begin to de-naturalise them, and even unbuild and unlearn them. Reflecting on that potential, Javiera Cifuentes brings into discussion the power of these methods to dislocate binary thinking: “I think performance is, as David Atencio states, a lens through which one can look at the world, thus enabling us to see that there are other knowledges (otros saberes) related with the senses, with experience, with art and creation. And generally, they have been underestimated and undervalued by formal science [creating] a hierarchical binary relation between mind and body, reason and heart, masculine and feminine… There lies, I think, the potential of performance [as a means of research], since it’s something quite concrete that helps us see the world from another perspective”. The deep comprehension of the nature of territorial conflicts and contestation, which is the one of the most important purposes of our network, requires the exploration through Performance, Theatre and Contestation Workshops and performances: Otros haceres I 53 creative and methodologies with the capacity to go beyond mainstream paths and techniques in order to sensitively connect with the everyday, incarnated experiences of the communities. “Many times, they put into question whether this kind of work is actually art, or if it is a valid scientific method, or both” argues Peter Petkovsek, “and we may discuss largely what is art and what is science, indeed. But what I know for sure is that these simpler applied theatre plays have a direct, immediate and wider effect in the community”. The theatrical and performative experiences of research we analyse in this section bring evidence exactly of that: their potential impact in the local communities and their ability to enable what Silvia Citró (2018) calls “practices of re-existence”. “[these methods] try to actively convene the spectactors to reflect and rehearse transformative and restorative micropolitics […since] they are not hereby at the service of the legitimation of (...) social reproduction, but of critical reflexivity that enables us to imagine and also collectively incarnate -even if only through the limited space-time of the performanceanother possible existence” (Citró, S: 2020 pp.11) Strictly speaking, SILENCIO is the only performance that took place at this stage of the CT project. Nonetheless, as stated above, we include in this section the analysis of some other theatrical experiences. Firstly, there were two particular workshops that worked as streams draining into SILENCIO performance: “AGUEAU VIVANT” and “CANTO AL AGUA” (“Song to the water”). Both took place during the same gathering (Encuentros con el Agua) and contributed to create the proper conditions for SILENCIO and eventually, for its replicas and new performances elsewhere. Secondly, and besides the SILENCIO “family”, there were two additional experiences that we analyse in this section, since they play with performative elements as a strategy for research, if more framed within applied/ community theatre forms. They are “AILLAQUILLEN, LA ISLA DE LAS NUEVE LUNAS” (“The Island of the Nine Moons”), and “DÓNDE METER LA CABEZA” (“Where to stick your head in”). The Experiences [15] Somehow, many of the workshops and activities developed during the Encuentros converged in SILENCIO performance, more or less straightforward. For example, the workshop “Contemporary dance CUERPO LÍQUIDO” by Plataforma Azul, or “Observation and painting” workshop by Soledad Gattavara and “ITROFILL KÜME KO” (or “The kindness of water in all its shapes”) coordinated by Wüfko corporation, as many of the documentaries and shows that took place during the first few days, facilitated the exploration and connection proposed through the performance. For more information, visit “Encuentros con el Agua” in the previous section. 15 Workshops and performances: Otros haceres I 54 Workshop-performance “Agueau Vivant” Performing on the shore of Mallolafken Timeframe November 15, 2022 -Playa Grande Lago Mallolafken/ Villarrica, Pucón, Chile Lead network nodes Universidad de la Frontera (Chile), University of Leeds (United Kingdom) Context of the activity Description of the activity Outputs and contributions to the contestation This workshop-performance took place as a part of the Encuentros con el Agua gathering. “AGUEAU VIVANT” was directed by Peter Petkovsek as a workshop on performances, in connection with this particular body of water: the Villarrica lake/ Mallolafken. Triggered by the question “How can we perform a lake?” or “How can we incorporate performance as a way of understanding and experiencing water?”, this small workshop convened around 15 researchers who were participating in the Encuentros. It sought to explore the relationship between ego and echo, individual stream and combined human-liquid element streams. The aim was to learn and exercise performative techniques, dramatic composition, scenic creation and free writing, in order to create a still, embodied image of water, a tableau vivant (hence the playful name tableau/ agua/ l’eau vivant). This tableau vivant served as a closure of the workshop, and at the same time, in the words of Peter Petkovsek, “it was like walking in the same path as SILENCIO would (later), but in a smaller, simpler scale”. It also served as a training for the participants to develop skills on performance as a means of research, thus contributing to future actions within the framework of Contested Territories. Performing on the shore of Mallolafken Workshops and performances: Otros haceres I 55 Chile Territory Pucón Workshop-performance “Canto al Agua” (Song to the Water) Date and place November, 16 2022 -Playa Grande Lago Mallolafken/ Villarrica, Pucón, Chile Lead network node Universidad de la Frontera, Chile Initial performative rituals Collective song to the water This workshop was also a part of the Encuentros con el Agua and it was coordinated by singer, composer and aesthete Natalia Contesse. More than 40 people attended between researchers and the local community. It consisted in the sensitive exploration of water, delivering the participants with theoretical and practical tools for the creation and interpretation of a collective song to the element water. It was also an invitation to rethink the body(ies) of water as (contested) territory, enabling new imaginations of the site: a practise of re-existence around the lake. The search was to activate the collective creative potential, using ritualised poetic word, together with melody and rhythm, to claim as a community the right to sing to the water. An artistic, aesthetic way to deepen our knowledge of water and create a familial bond with it. On the one hand, the facilitator shared epistemological references of bonds generated between water and human beings, relationships which are both aesthetic and affectionate, always through a word transmuted as a sung poem. On the other hand, they worked on learning vocal technique to enhance the voice and be able to sing collectively an ode to this liquid element. Context of the activity Outputs and contributions to the contestation Description of the activity On the other hand, they worked on learning vocal technique to enhance the voice and be able to sing collectively an ode to this liquid element. There was also an aim of growing the participants’ sensibility towards water by recollecting and sharing stories and memories each of them had about the lake (or other body waters they lived nearby) and their presence in their lives. These “tales of water” were, somehow, the raw material for the co-creation and composition of the collective song to the water. The following day, this collective creation would serve as a silence breaker and closure to the performance SILENCIO, thus becoming a performative act in itself, and sharing its mid and long term effects and contributions to contestation. https://www.instagram.com/p/Ckav8t1AePK/ More information Workshops and performances: Otros haceres I 56 Chile Territory Pucón Lead network node Date and place November 18, 2022 -Playa Grande Lago Mallolafken/ Villarrica, Pucón, Chile Universidad de la Frontera, Chile Elisa Avendaño Curaqueo and Natalia Contesse singing to break the silence Performance “Silencio” (Silence) Context Description of the activity It was part of the programme of activities at Encuentros con el Agua, an event that aimed to explore different perspectives to destabilize the traditional ways for comprehension of and bonding with nature, the elements and most particularly, water. During the Encuentros, there was a myriad of debates and analysis that put into tension different notions of WATER as a resource, as a commodity, as a vital element, as site: as a contested territory. Along with other problems shared widely with other regions, the Mallolafken has a particular conflict with tourism and gentrification related pollution which was brought into attention during the gathering. This collective artistic action took place for the first time within that event: directed by Javiera Cifuentes Padilla, SILENCIO (Silence) convened more than 100 people among researchers, participants and spectators. This artistic act sought to explore and connect with the essence of water by using the whole body rather than just mind or words, enabling alternative ways of knowledge co-creation. As Javiera Cifuentes states: “The main idea of this performance was to offer, within an academic context, a radically sensitive, experiential space: one that would invite us to bond with water in an extra-quotidian manner” Having this particular site a foundational conflict with its naming - it is called Mallolafken (lake of the white clay) in Mapudungún, the language of the native Mapuche, and Villarrica (rich village) by the Spanish colonizersit seemed only adequate to appeal to silence in search of new understandings and senses. With these ideas in mind, the performance created a chain of bodies lying down in silence for 12 minutes: human bodies of researchers and participants thus integrated to the body of water, become part of the shore, paradoxically embracing the lake while experiencing the impossibility of grabbing the liquid. The closure of the performance was marked by a song: the “Canto al agua”, collectively created during the workshop co-ordinated by Natalia Contesse. She has been working for many years on singing workshops to co-produce songs as an offering for the Water, which in this case was meant specifically to be the closure of the performance. Likewise, there was another song in Mapudungun by Elisa Avendaño Curaqueo: the singer, performer, ülkantufe and ayekafe (and the first Mapuche woman ever awarded with the National Prize of Musical Arts in 2022) brought into the scenery of the lake a very powerful sound to end the silence. The visual documentation of the performance was done by researchers and collaborators, but there was a challenge regarding the feedback from the participants afterwards: on the one hand, there had been more than a hundred spectactors, passersby and participants. On the other hand, as the director Cifuentes put it, the energy of silence had sunk so deeply in her (and their) bodies, that it was really difficult to think of a workshop to bring into words all the feelings, perceptions and ideas, immediately after the performance. [16] see description in Section 1 16 Workshops and performances: Otros haceres I 57 Chile Territory Pucón The process of co-creation and co-production of the piece made a multilayered contribution to contestation. The play convened, when it was showed, a large number of spectators from different cultural backgrounds and adscriptions, some of them becoming spect-actors in the act, joining the afafan, for instance; some others getting to know the silenced version of the epew for the first time; some of them, from the academic community of UFro, who had contributed with the research, assisting to a very atypical and powerful product of a scientific exploration. Hence, this reclaimed narrative gained a vast visibility among very different sectors of the community, while proving it is possible to develop actual, effective, intercultural and alternative ways of both artistic and scientific co-creation. Somehow, Petkovsek considers that, while cocreating the play with Aillapan Huiriqueo, he was performing, reenacting and embodying in his own life the same values the Epew Aillaquillen teaches: humbleness, reciprocity, respect and gratitude for the environment and local culture. The result was, as this co-creator says, a very heterogeneous, unorthodox play which in 45-50 minutes, comprises several acts: A first one with a scientific approach to the natural history of the lake, more like a western narrative; a second act representing the scene of the young couple from the epew, that is, the Mapuche narrative; a third one which was mostly a dance act representing the four elements; and a fourth act mainly with music played with Mapuche traditional instruments. Lorenzo Aillapan performing with traditional Mapuche instruments That was the story they wanted to transform into a performance, a process of research that, through art, could contribute to reclaiming the narrative and territory. The process was, as Peter explains, very rich and complex, as they had the chance to take all the time it required for a proper intercultural device to be set. For the first two months, Alejandra generously guided Peter through Mapuche life, cosmovision and relationship with the environment. They gathered a group of 6 or 7 local actors, both Mapuche and Huinca, and started working and bonding together. Once the troupe was set, they started rehearsals and by the end of Peter’s stay, the play was ready. They presented it in at the Liquen Cultural Centre in the town of Villarrica. Outputs and contributions to the contestation Petkovsek, P. (2025). Aillaquillen: The Island of Nine Moons. Cosmovision and Animism in Performance. Fourth World Journal 24(2), 189202 Aillaquillen: Cosmovision and Animism in Performance | Peter Petkovsek, MFA | FWJ Interviews More information Alejandra was acting and narrating in the play, and so was her father, Lorenzo Aillapan, who is a very important person within the Mapuche community. He is an artist and a wise man, an üñümche (or bird-man) extensively known and admired, declared as a “living human treasure” in 2012 by the Chilean Ministry of Culture. In the performance, he played the role of a kimche, a wise-man -very alike himselfwho told the epew, the real, original one, and explained its actual message to the community. Immediately after the play finished, he made a solo performance introducing the Mapuche musical instruments and talking about Mapudungun language and culture in general. } Additionally, to mark the closure of the show, there was even an afafan, that is a powerful, collective cry that Mapuche people perform in important or ceremonial occasions. It invites every one of the participants to join and repeat the shouting, to reinforce the energy of the ritual (whichever it might be). Therefore, as a whole, the final artistic product expressed a confluence of diverse methods and strategies: on the one hand, the more western performative tactics, and on the other hand, the traditional, ancestral Mapuche ones, including ritual components. 18 [18] For more information about Don Lorenzo Aillapan Cayuleo https://en.wikipedia.org/wiki/Lorenzo_Aillap%C3%A1n Workshops and performances: Otros haceres I 64 Ópera-salsa: Dónde Meter la Cabeza (Where to Stick your Head in) Timeframe Developed from November 2023 to January 2024. Premiere: 19/03/2024 Lead network nodes Pontificia Universidad Javeriana de Cali, University of Leeds (United Kingdom) Scenes from "Dónde Meter la Cabeza" Context of the event Description of the process This piece derives from the project Habitancia, and it was made possible by the confluence of the previous research works of Carlos Tobar and the Javeriana Pontifical University team, and the University of Leeds member Peter Petkovsek’s stay in Aguablanca from November 2023 to January 2024. Together with the Son de mi gente association, they co-created this piece that collects an re-lives the memories of the birth of the neighbourhood and the building of the community of Aguablanca, their struggles for land and for peace, with the salsa music and dance as a common. The premiere of Dónde meter la cabeza took place during the Simposio Internacional: Convivencias y Luchas por el Espacio Habitado (International Symposium: Co-existence and struggles for inhabited space), a travelling event led by the Javeriana Pontifical University node which aimed to learn from and discuss about commons, public deliberation and communitarian experiences of contestation in Colombia, with participants, both from the CT network (from Bolivia, Chile, Ecuador, UK -Sheffield, Leeds, Newcastleand Madrid, Spain), and the local LGBTTQ+, Afro-descendants and indigenous organisations. As a starting point, there was also an acknowledgement of salsa as a common: it was a shared language and a way to express, beyond its -not less importantrecreational purpose. In the difficult context of violences of several kinds, it had contributed towards peace building. Actually, in the Marroquin-2 neighbourhood there was an ongoing project of a school of salsa for children… and an old dream: to create an Opera-Salsa to explore and share their lived experiences. The process of research started with Tobar and his team networking and interviewing members of the community who manifested their interest in systematising their history as a community challenged by violence -as eastern Cali has been-, as well as for discussing and exploring in depth the effects of climate change in their environment. Workshops and performances: Otros haceres I 65 Territory Colombia Santiago de Cali Finally, they built this unique, unclassifiable musical piece, Dónde meter la cabeza. Its title comes from a traditional saying “It’s good to have a spot where to stick your head in”, in reference to a place where to live, a home. The first act narrates the arrival of a mother and her little daughter to the territory where nowadays lies Marroquin 2 neighbourhood in Aguablanca district. It’s based upon Sandra’s story, and shows 2 iconical moments in the history of East-Cali: the self-building of popular neighbourhoods in the ends of the XX century, and the conflict of violence the youth have been involved with due to lack of opportunities for inclusion, in addition to political and narco-violence contexts in the beginnings of this century. The second act is based on the biography of John Murillo -one of the founders of Son de mi Gentewho was 18 years old when, on occasion of a robbery, was shot and seriously injured. He survived but has lived ever since then in a wheelchair. The musical describes how he had to decide between seeking vengeance or instead, as it happened, choosing to work for peace building and start the organisation Son de mi gente. As co-director and neighbour Angelly Álvarez says: “theatre becomes a safe space for the people who inhabit these places, and it can put into question things that happen in their communities, how they feel about all that, and all of a sudden, they can express themselves there, in that space, a nonjudgmental space [...]. In everyday life in their territories there is so much that they need to keep silent about, because of violence, there is a mandate of silence. But, when they gain access to theatre, dance, plastic arts, well: there is a bridge for them to feel free, to say ‘here I am, here I dwell and this is what I think about our reality, my life, my family’. It may become a space for talking” and breaking the silence. As the researching team found out, the initiative was ambitious, since the “troupe” had dissimilar abilities to face the diverse demands: the oral and written language for the script, the acting skills for the theatrical parts, and the salsa dance for the musical pieces. Scenes from "Dónde Meter la Cabeza" Description of the activity As Peter Petkovsek -script co-ordinator and dancers’ and actors’ co-directorexplains, there are 3 important elements in a process like this: the first one is the context, which is never the same in one location or another. They had a lot of previous work done by the researchers and knew the territory, the community and their struggles. The second one is the focus: what of all that context, history, and identitarian elements is the community willing to narrate at this particular point. The third one is building on top of what is already well known, the group's strongest points, their forte, which in this case was salsa. They took the choreographies already developed and incorporated by the group as the raw material to express the critical narratives on the neighbourhood. For 2 months they had a multilayered process of co-creation: they started working to enhance the narratological abilities of the participants to favour the resignification of the sources of conflict and violence, and thinking of viable alternatives, thus being also able to discuss the contents and the focus of the narrative, and to write the script. Simultaneously, they started adapting the choreographies to this new narrative, and, of course, rehearsing them at the same time as the dialogues. Carlos Tovar, about the “Opera-Salsa” idea. I was initially inspired by an Opera Rock called “Ricky horror show”, which is a very important opera within the LGBTTQ+ scene. And later on, during a Contested territories stay, I had the opportunity to know some other works of that kind, which led to talks with some colleagues about the viability of actually projecting ourselves in an Opera Salsa in Aguablanca district. I think that perhaps that, the Opera Salsa, is a horizon that we haven’t reached so far, but it is such a beautiful horizon! It enables us to think that it is precisely there, in that hybridation, in the space between scenic arts and music, is where we can imagine alternative methodologies to represent the injustices that our communities experience. Hence I can imagine that it is there, in that long trajectory of joint efforts that communities from all around the world have made to present us with their own sufferings through music and dance, that we found the origin and inspiration for this process. Workshops and performances: Otros haceres I 66 From the co-creators’ standpoint, the play is “a danced epistemology with a salsa tone”. It reclaims popular knowledge and strategies proposed by the inhabitants of vulnerable territories to build peace. Contestation, for them, refers to performative experiences that seek to demonstrate the impact of externalities caused by injustice. The historical processes show the insufficiency of the States to assist the citizens in crises caused by violence and rights deprivation. In this kind of theatrical methods of research we get to explore, identify and witness the definition of strategies based on grounded comprehension of the demands of cultural acknowledgement, economic redistribution, fair political representation and environmental justice. Scenes from "Dónde Meter la Cabeza" The third and last act explores the environmental impact of the creation of the neighbourhood, and the interactions of the different actors of the community within the land, which was originally a wetland. The environment becomes more than scenography or landscape: it is a living entity that evolves through the years, in the darkest times is used as a clandestine site for disposal of bodies, it serves as a foundation for the houses as families keep arriving and settling there, and finally becomes a green island, a space for restoration and conservation of nature in the centre of a very marginal suburb of Cali. The premiere, as we said above, took place at the Javeriana Pontifical University and was offered for the Contested Territories members who were attending to the Simposio Internacional: Convivencias y Luchas por el Espacio Habitado (International Symposium: Co-existence and struggles for inhabited space). After the show, there was a dialogue and debate with the performers and the audience. It was the only time the Opera-salsa has been represented in a “formal” institution: since then, it has been shown around 5 or 6 more times, always in open spaces like parks and streets. Outputs and contributions to the contestation Even if it was not part of the initial plan, the Operasalsa premiere was kindly recorded and later edited and composed as a movie by Mónica Bravo Pedrosa, Manuel Alejandro Orozco Van and their students of the Javeriana school of Cinema. This unexpected product has expanded the reach of the performance, spreading not only within the CONTESTED_TERRITORY network and the Javeriana University community, but also allaround Cali and Colombia. Last but probably the most important lesson learned regarding contestation was the contribution that salsa and performances can make -and have made alreadyas methodology and strategy towards peace-building. Taken as a starting point, a shared language and a common, they enable experiences of possible and desirable togetherness: the imagination and re-claim of territories of peace. DÓNDE METER LA CABEZA https://www.youtube.com/watch? v=Ifmq7U8BCEc More information Musical Podcast with the team Workshops and performances: Otros haceres I 67 Bibliography Atencio, D: (2024) “Mirar con los lentes de la performance” recovered from https://escueladeteatro.uc.cl/noticias/mirar-con-los-lentes-de-la-performance-escuela-de-teatro-uc-lanzadiplomado-interdisciplinar-con-docentes-de-argentina-mexico-brasil-chile-y-estados-unidos/ Bay , André: (1972) Aimez-vous les escargots? suivi de Conseils à ceux qui voudraient devenir escargot. Paris. Denoël Bourdieu, P: (1990) The Logic of Practice, trans. Richard Nice, Polity Press Cano, A. (2012) La metodología de taller en los procesos de educación popular. Revista Latinoamericana de Metodología de las Ciencias Sociales, 2 (2), 22-51. UNLP. La Plata. In Memoria Académica. Available at: http://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.5653/pr.5653.pdf Citro, S. (2018). 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Available at: https://vbn.aau.dk/en/publications/workshops-as-a-researchmethodology Petkovsek, Peter. (2025). Aillaquillen: The Island of Nine Moons. Cosmovision and Animism in Performance. Fourth World Journal 24(2), 189-202 Workshops and performances: Otros haceres I 68