Crossing Jericho

Susanne Bosch

For me, art is a practice for entering into dialogue about social, political and historical events as well as an interface where, through/with aesthetic forms, a different way of dealing with given conditions can be tested. As an “interface activist” I work on long-term questions that deal with concepts of democracy and sustainable futures. This includes work on social visions and models of participation (e.g. Cities Exhibition, Birzeit University Museum, Palestine 2012-13; This is Tomorrow, Osnabrück, 2015; Subcontracted Nations, Qattan Foundation, Palestine 2018, and Solidarity Crunch Zones, Villa Massimo, Rome, 2020-21, come and go | linger, 2018-2020, AROSA_interactives roleplay, since 2019, ‚FiFis flat. THE WHOLE WORLD AT HOME‘, 2021, Time for the future, 2022), money (e.g. Left-over Penny Action/Restpfennigaktion, Germany, 1998- 2002; Naples, Italy, 2008-2009; Madrid, 2010-2011, Liechtenstein, 2017,) and migration (including ‚the border’, 2020 Berlin; Cartographies (of) a Landscape, 2020 DA Gravenhorst; The Prehistory of Crisis II, Belfast and Dublin, 2009). susannebosch.de

#walkingasproject #walkingasperformance #walkingonborders #collectivewalks

Crossing Jericho, performance, 2012. Images courtesy of S.Bosch

Can you give some background to this project?

The nocturnal walk ‘Crossing Jericho’ took place as a public participatory art intervention on 3rd October, 2012. It was part of a larger artistic concept called ‘Jericho - beyond the celestial and terrestrial‘ and the 4th Edition of Cities Exhibition, Palestine, 2011-2013. Initiated by the Birzeit Museum in Birzeit, Palestine and curated by Vera Tamari and Yazid Anani, ‘Jericho - beyond the celestial and terrestrial’ selected 5 artists to respond to contemporary Jericho (besides myself: Iyad Issa, Samah Hijawi, Sarah Beddington, Shuruq Harb). We embarked on a process that was to last about a year, in which we were invited to engage with the city of Jericho. The process was divided into three phases: onsite research, which was published in a book, a participatory intervention onsite and finally an exhibition in the Birzeit Museum.

I invited people from Jericho and the rest of Palestine to walk together on a silent march through the night. Seventy people turned up at the Ein Dyuk spring at the foot of the Mountain of Temptation. We walked in silence for more than three hours through the Jericho landscape, following one another in one long line: starting in the mountains, we walked along the irrigation canals through the fields, on through the outskirts and into the town center of Jericho. We continued to walk through the night in the flat desert landscape towards Jordan, finishing in the Arab Development Society close to the Allenby or King Hussein Bridge, the border crossing to Jordan. There we broke our silence, reflected on this experience of walking through this space together, and concluded the action with a meal in the open air, under the night sky.

The performative act of walking through space was about the collective creation of spatial knowledge through an embodied experience.
The silent communal walking (always with someone else’s back in front of you) created a sense of cohesion without the need to communicate verbally with one another. Hiking through landscapes creates a different form of connection with the place. The pace makes it possible to develop a completely different sense of place. We agreed on some ground rules of co-existence while walking:

  • I will remain completely silent.

  • I will walk in a line.

  • I will follow the person in front of me.

  • I will switch off my mobile phone and not use it.

  • I will not take photos.

  • I will not smoke.

  • I will not re-act if addressed directly by people passing by.

Relationships are central to this form of artistic work. In participatory art, we speak of relational aesthetics. It deals with being or becoming aware of our interdependencies, our urge for commoning as well as our conditions of co-existence. Many of these aesthetic elements are part of our everyday; transferred into such an artistic performance they become components of an unusual – because ultimately invisible – sculpture. Beuys called this approach ‘invisible sculpture’: formations that initially occur in the invisible relational space before materialising and becoming concrete. No one can ever see them as a whole. 

The art historian Claire Bishop differentiates between two artistic strategies for opening up or creating the space for participatory art. One is an artistic practice that offers an alternative to social injustice through artistic actions that influence society. The second is an artistic approach that primarily confronts the situation with its own rules of the game. My practice undoubtedly belongs in the first category, and I very much respect the powerful influence of the second approach.

The walk through area C in Palestine was an artistic invitation to local Palestinians to create a situation of being in touch with their own land though an extended walk; a land that is so contested that one’s existence in /on this part of the world is hard to fully embrace. In this context, where a landscape is to a considerable extent impassable, the act of conscious walking contains a component of civic reinforcement and local resilience.

What is Walking to this work?

How did the passers-by or the participants respond?

The majority of the participants were people from Palestine, many of them from Jericho itself, and quite a lot of them had never walked through this landscape in their lives. The context gave people of all ages and gender the chance to perceive their living environment differently through this clear and safe framework.

During the walk, we stopped twice for water and bio breaks. This time, too, was spent in silence. Some people wrote down things that were buzzing about in their heads. Walking in the dark sharpens other senses of perception: smell, hearing, and bodily senses. The verbal silence between people allows one to listen to what is going on around, but also to become aware of our own inner ‘noise’.

At the final location, the Arab Development Society, we broke our silence and a 1,5 hour reflection process started. People exchanged on their perceptions, feelings and thoughts. I knew, from the many times I had stayed in this place, that for the majority of Palestinians, the occupation is impacting highly / has a massive impact on their experience of their living environment. People travel through the various administration zones – A, B and C – by car, by bus, or not at all. Historically, however, Palestinians were deeply connected with their agricultural land, walking across it, herding animals across the mountains, harvesting crops. In art and literature there is an extensive wealth of expressions for the beauty of the land and of nature. The Palestinians’ souls are deeply rooted in this landscape. The fact that the space cannot be experienced anymore, has created a division that takes multiple forms: the origin of materials and food is unknown; the localisation of family origins is no longer relevant; respect for nature and landscape occurs only from the perspective of distance. 

Walking together in silence does not appear to be an unusually creative act. Two aspects made this walk an artistic and participatory act: Walking as a collective, in a silent line through a politically impassable landscape, made people aware of their empowering qualities as one civic body. Some participants started walking together after this; others incorporated the possibility of going for walks at all into their consciousness for the first time. I myself had the unique opportunity of a nocturnal experience of Palestine under safe conditions. Here are some translated notes from the walk:

  • Why was I created as Palestinian?

  • A good feeling, walking in the moonlight, the natural surroundings, the sound of water.

  • When Nature speaks, man should listen. Relativity in size between man and place, different proportions. Difference between high and low land sensed through air movement and temperature. I heard crickets and water. I heard people talking and arguing. The moon started its journey with us; we saw it during the hike.

  • A walk through the geography of the place, essaying the unknown. Human memory flows through the sounds and scents of the place. Like a dream. Flows together with the water, like the flowing of blood. Migration to the south.

  • The best thing about the walk is the silence. I could hear each person’s movement and saw some ruins.

  • The sound of water was strong and sweet, and the smell of damp grass and earth was so sweet.

Crossing Jericho, performance, 2012. Images courtesy of S.Bosch