By Elahe Karimnia
Through this workshop, we aimed to show strings of our thoughts, feelings, doings, and knowings that pass between us and places in the city.
On a warm and bustling International Women’s Day 2026, my research assistant, Reem Elnady, and I joined one of the largest women‑led gatherings in the UK, hosted at Bristol City Hall. Organised by Bristol Women’s Voice, the event brought together more than a thousand participants through talks, exhibitions, and workshops exploring women’s experiences, inequalities, and possibilities for collective futures.
Within this year’s theme—connection and common ground—I curated and co-facilitated a participatory workshop titled: Be-longing in Bristol: Moving, Knowing, and Re-making the City
At its core, the workshop asked a deceptively simple question:
How do women experience belonging in the city through their everyday urban encounters?
Rather than posing this question directly, the workshop was designed to let it emerge through mapping, and shared reflection. In diverse societies, belonging is not a fixed state, but a set of conditions negotiated through encounters. For some, like myself, it involves challenging norms that restrict bodies, and histories that constrain futures. What if belonging is not about rootedness, but about the conditions that allow bodies to be fluid—unfixed, relational, leaning toward others and toward the city?
Urban encounters, practical engagement with a place, shape relations between bodies, places, politics, and meanings. My research explores these relations through choreographic thinking and practice: understanding how our bodies read the grammar of the city, and how we co‑inhabit other bodies, ideas, ideologies, and identities. These encounters—whether fleeting, intimate, conflicting, conscious or unconscious—reveal the conditions through which belonging is constructed.
The workshop unfolded in two interconnected parts.
Participatory Mapping

In the public exhibition space, we invited women to engage with a large map of Bristol using pins and threads. Our aim was to explore the situations and conditions that relate people to places. So, we asked participants to identify places they enjoy being in or moving through, and places they avoid in their everyday routines.
This was not simply data collection. It was an invitation to storytelling. Participants shared the “whys” behind their choices, pushing pins into the map to mark their experiences and connecting places with threads of their choice. As women described their encounters with the city—joyful, anxious, nostalgic, or tense—the map became a collage of affective geographies: anxious zones, no‑go zones, comfort zones, and spaces of possibility.
We then asked a more imaginative question: Where in Bristol would you “gift a dance”?
For some, “dance” initially suggested professional performance. However, based on my previous collaboration with Theatrum Mundi (Choreographing the City research project) and ongoing interdisciplinary research with Dance scholar Dr Adesola Akinleye, we reframed dance for participants as an embodied journey of sensing the city: attuning to movement, stillness, and feeling. Once understood this way, participants engaged enthusiastically, reimagining their relationship to the city. And some already enjoy dancing in the city, as they claimed: “Dancing is easier than walking. Music is easier than language.” More than 130 spatial narratives were mapped; many women returned, adding new pins for gifting the dance to the city.
Dialogue and Embodied Reflection
In the afternoon, in a small room at City Hall, filled with 19 participants, including two men, we shifted from mapping to dialogic and embodied exercises [we limited the narratives to women participants].
As belonging in this research is framed beyond representation, participants were asked to self‑identify in the ways they wished to be remembered. Then we aim to shift the dynamic from individual narrative to collective by asking participants to complete the phrase: “I am… when I experience the city” and pass it to the person next to them. As participants repeated the exercise a few times, they began listening and responding to one another, recognising shared experiences, offering support, and at times proposing solutions. The room transformed from a table surrounded by individuals into a space of relational lines between shared ideas and knowings of the city.

Participants were then invited to sensory imagination of “rest” in ideal places where they felt comfortable; places to pause, places to be still. They then mapped out these desired places reflected collectively the gap between their spatial imagination and current experience of stillness in Bristol.
Based on the two activities of the day, several patterns were immediately visible. We found various and sometimes conflicting spatial narratives, but also shared experiences and emotions related to specific urban encounters in highly commercial spaces, abandoned spaces and green spaces in the city. We reflected on a couple of themes, to be further explored in the next stage of this research.

The agency of mapping, the power of listening
The act of placing pins, choosing thread colours, and drawing connections allowed participants to become visibly part of knowledge production. The map was not a representation of the city – it became a site of negotiation, encounter, and storytelling. Women got engaged with the map in close proximity, created a space of togetherness. Powerful moments of exchange even emerged. In one instance, a participant described avoiding her favourite park at night; another immediately mentioned someone else who lived in the area and suggested they go together. Given the tight schedule and the density of the event, we could not delve deeply into every story or fully unpack the impact of city‑making practices on these experiences. However, we tried not to be outside observers and instead becoming part of the unfolding narrative.

What Comes Next: Moving into the City
This workshop was the first phase of the research project Dancing the Impossible City. The second workshop, currently in development, will apply choreographic thinking and practice to explore places in Bristol that participants identified as needing healing.
In the current dark times, we need hope but not as an imaginary, as an obligation. “That the end of the usual is not catastrophe, but a stranger choreography where every collapse composes a new rhythm, a fugitive score for those willing to dance offbeat.” (Bayo Akomolafe. Sanctuary is not a place. June 2025).























