CAR(E)AVAN

Car(e)avan was first developed as collaboration with designer Michelangelo Lamonaca. In this article you will find a summarised version of the format.

PURPOSE OF THE LAB

The aim of this workshop is to raise awareness on the topic of sustainable transportation using sound to animate and give a different connotation to public space and more specifically the roads which are commonly occupied by cars. The core concept is that by taking back the streets in the form of critical mass and animating it through sonic performances we can generate attention towards themes that should be discussed and provide convivial spaces to talk about them. This workshop features a sonic performance played during the critical mass by one or more collaborating artists/musicians/DJs. The format is designed to be enacted in public space with voluntary, free and open participation, however a substantial core group should be present from the very beginning.

WHY SHOULD THIS WORKSHOP EVEN TAKE PLACE?

Because streets make up for a large percentage of urban spaces (according UN-Habitat data, in Europe it averages between 15 and 30%, with certain areas easily exceeding 50% ) whose usage is often unbalanced towards private car-centered commuting, hindering the presence and creative development of other forms of utilisation of such space. Reclaiming streets, animating them with a loud and participated discourse can be a way to encourage the initiation of a dialogue towards desirable change.

TECHNICAL INFORMATION

POLITICS?
By politics we mean all those conscious and unconscious practices, processes and infrastructures through which we act to shape our coexistence in society.

IDEAL LOCATION
The ideal location for this workshop are urban streets whose role as spaces of togetherness and exchange has been stripped. Streets characterised by unnecessary private car-centered commuting, shopping streets dedicated exclusively to mass consumerism, and any other street that could be desirably reclaimed are all good options.

DURATION
~2 hours

NUMBER OF PARTICIPANTS
~20

AGE
Any age

TYPE OF PARTICIPANTS
This workshop can be carried out with whoever wants to join. It works however especially well if participants live close to the selected location and/or have a connection with it.

IMPORTANT ASPECTS

• The workshop includes a critical mass. This means that organisational aspects should be taken care of prior to its start. (e.g. a specific path should be laid out, safe places for short breaks should be considered, bicycle repair equipment should be prepared, if the workshop is not enacted as a "truly" critical mass eventual permits should be requested to local institutions)
• This workshop foresees the presence of people playing music during the bicycle ride. This means that one or more collaborating musicians/DJs should be present and ready to play.

KNOWLEDGE/ SKILLS NEEDED (participants)
Basic to advanced motor skills are necessary. People should be able to ride a bicycle.
Alternative forms of transportation can be easily found for people without sufficiently present motor skills (tandem bicycles, bicycle carts, cargo bikes, ecc.)

USEFUL KNOWLEDGE/SKILLS (participants)

• Understanding and speaking the local language

KNOWLEDGE/SKILLS NEEDED (facilitators)

• All of the above
• Attention and empathy towards people
• Open, inclusive and non-discriminatory attitude
• Attentive listening skills
• Good rhetoric and synthesis skills
• Experience in moderating workshops
• Knowledge of local urban area and network of streets

USEFUL KNOWLEDGE/SKILLS (facilitators)

• Knowledge of local architectural and urban legislation and policies
• Proficiency in other languages

MATERIALS (checklist)
REQUIRED

• Bicycles
• Bicycle cart or cargo bike (to transport the people playing music)
• Portable but powerful speakers
• Instruments required by the people playing (they need to be battery powered)
• A battery powered speaker
• Cables to connect the instruments to the speaker

OPTIONAL BUT RECOMMENDED

• Towels or pillows
• Food and drinks
• Helmets

RUNNING THE WORKSHOP

Car(e)avan is a format that includes 3 main phases following an introduction:

1. Musical critical mass
2. Open contributions
3. Collective discussion

PHASE 0 - INTRODUCTION [~10min]

The purpose of the introduction is to make participants feel comfortable, get to know each other a little better and explain the activity the workshop will consist of. The ideal introduction can vary much depending on the context and the type of participants.
Some useful aspects to consider:

• Efforts should be taken to make the setting as accessible, welcoming and comfortable as possible (the Conditions for better (political) participation guideline can be a great help in this)
• Participants should be greeted in a friendly way and efforts should be made to get to know them a little, in this context moderators might try to find out if participants have previous experience in music making
• If the workshop is enacted in a public space with open and spontaneous participation the introduction may begin with just a simple informal chat
• If people do not know each other mutual introduction should be encouraged
• If the workshop takes place in an institutional setting where participants already know each other then some warm-up exercise or icebreaker can be used to lighten up the mood
• Moderators should explain the purpose and structure of the workshop in a summarised and clear way
• Moderators should give overall "safe critical cycling" guidelines to make the ride smoother

PHASE 1 - MUSICAL CRITICAL MASS [~45min]

As soon as everybody is ready the Car(e)van starts. While the group starts cycling, the (first) artist/musician/DJ starts playing. The mass roams through the city on the foreseen path.
A few things to consider which help the group ride smoothly:

• A person in the front of the group should be carrying the musician and leading the way. (this person needs to know which way to go)
• The leading person should keep a relatively slow pace so that every other person can easily follow
• If the path is considerably long and/or if multiple artists should play, occasional breaks should be taken to allow for a little rest and to ease the switching of artists
• People in the organisers team should be evenly spread out in the group and the last person should be one of them. These people should make sure that everything is fine and that everybody keeps up with the group leaving nobody behind.

A few possible variations:

• The position within the group of the transported artist may be optimised depending on the vehicle used for transportation. The main thing to consider is how well the group will be able to hear the music during the ride. If the artist is transported with a bicycle cart, for instance, it would be better for it to be in the very front of the group so that the sound can project backwards towards it. If the artist is carried with a front loading cargo bike or trike, then it might be best for the carrier to ride in the middle on in the end of the group.
• Multiple artists could play simultaneously. This implies a greater coordination but it can lead to very interesting results.

THE ROLE OF THE SONIC PERFORMANCE
The sonic performance plays a central role in this step as it is responsible for the sonic character of the critical mass. Although any kind of sounds/music could be played, it is important to not consider it as just an embellishment to the event but rather as a tool to support the political messages that the group wants to communicate. This implies that who plays, what they play and how they play it should be reflected upon and optimised accordingly.
A few questions to help frame the musical performance:

• Which themes/discourses are we addressing through our action?
• How can the typology of music/sounds played contribute to the discourses we would like to address?
• Which forms of music/sounds could be played accordingly?
• Which artists should be involved/ given voice?

Regardless of the themes/discourses addressed, the sonic performance should embody them, or at the very least complement them.

PHASE 2 - OPEN CONTRIBUTIONS [~15min]

Once the group has reached the arrival, organisers can take a few minutes to talk about chosen political themes connected with the event. Open contributions by participants should be encouraged. This step should be kept as compact as possible.
A few questions to help frame the contributions:

• Why are events like this important?
• Which different imaginaries and narrative can we promote through our acting?
• Which specific issues should we raise through this action and talk about ?

PHASE 3 - COLLECTIVE DISCUSSION [~45min]

After the contributions have been shared the group can freely engage in dialogue. At this stage efforts should be taken to make the setting as comfortable as possible. A few questions that can help make better choices include:

• Has the arrival spot a symbolic meaning?
• Do participants feel free to make the place of arrival their own?
• Are foods and drink available?
• Are toilets near by?
• Can local weather conditions be easily withstood?
• Can participants easily interact with each other in the chosen spot?

At this stage facilitators should take care to listen to various participants, conversate with them and gather feedbacks on their thoughts.