Dee Heddon asked us to share this, and to encourage participation in the research through completing the survey (below). Walking is an everyday activity (more so since the shops have been closed) and also an approach used by artists, whether as part of a social or solo practice, to create personal work or as part of larger projects. Rebecca Solnit says in Wanderlust, “Walking . . . is how the body measures itself against the earth.”
Anecdotes and data alike suggest that during the past year of COVID-19, people have walked more and, when restrictions were in place, such walking was necessarily hyper-local (within a 1-mile radius) or local (with a 5-mile radius). This certainly resembles my experience. I’ve lived in Glasgow for most of my adult life, moving here to attend University at the age of 17, spending a relatively brief 7-years in Devon, and returning in 2006. I’ve only ever lived in the west of the city (Maryhill, Partick, Kelvinbridge, and Hillhead). I thought I knew this area like the back of my hand. This year has taught me that, in fact, I knew very little. As well as walking familiar routes, sometimes daily (Botanic Gardens, River Kelvin), the restrictions also prompted me to do lots of urban drifting, traversing streets not yet walked, finding new (to me) cobbled lanes and mews houses, modern builds tucked around corners and down dead ends, residents’ gardens dotted across the urban landscape, and hidden alleyways. The west end of Glasgow is much more than tenement flats. I’ve also extended my pedestrian reach to new parks, including Dawsholm and Ruchhill, the first home to astounding old woods inhabited by parakeets, the second to the largest daffodil display in Glasgow and resident woodpeckers. I’ve been quite astounded by the city that’s surfaced from beneath my feet.
Since 2010 I’ve been following, writing about and practicing walking as a cultural practice, first by interviewing women artists about their walking work and secondly by launching my own creative walking projects (40 Walks and The Walking Library). Now I embark on a new venture: exploring people’s experiences of walking during COVID-19, with a particular focus on felt experiences and the intersection of walking and creativity. At a time when restrictions have kept us physically distanced, the well-placed coloured stones or chalked messages seem to have been deployed artfully to keep us socially connected, and to keep our walking joyful and engaged. There are a lot of artists in the UK who identify as “Walking Artists”, and many of them have continued to create walking work this year, adapting their practice to the new landscapes within which we find ourselves. A brief scan also suggests that some artists have turned to walking as a new material for their creative practice, something that can still connect, can be convivial or restorative or attentive, and be undertaken safely.
‘Walking Publics/Walking Arts: walking, wellbeing and community during Covid-19’ is an 18-month research project, funded by the Arts & Humanities Research Council. We are exploring the potential of the arts to sustain, encourage and more equitably support walking during and recovering from a pandemic. You can find out more at www.walkcreate.org
The aim of our research is to understand more about how creative practices can be used to support more people to walk well, during and out of a pandemic. We look forward to sharing our findings, but to help us please do complete one of our surveys.
Dee Heddon is Professor of Contemporary Performance at the University of Glasgow(UK). She is a practice-based researcher and has published articles in peer-reviewed journals, as well as academic monographs and book-chapters. She is well known for her interest in autobiographical performance, site-specific performance and walking art.
(Top photo: Dee Heddon / University of Glasgow Photograph by Martin Shields Tel 07572 457000 http://www.martinshields.com © Martin Shields)
ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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