Decolonial Flânerie treats the city walk as an apparatus for producing knowledge rather than transmitting pre-existing interpretation. Its iconic move is to replace the solitary, supposedly universal flâneur with a collective, situated and politically explicit practice of moving through public space. Walking becomes a method for recovering suppressed urban archives, juxtaposing historical layers, and generating relations among bodies, stories, sites and materials that conventional documentation often separates. The work operates through three linked procedures—juxtaposition and imagination, speculation and sensation, intervention and interaction—thereby refusing a clean division between ethnography, artistic practice and civic action. Its theoretical contribution lies in defining knowledge as emplaced, sensorial and collaboratively produced, while its methodological strength lies in making movement itself a research condition. The work bridges public anthropology, decolonial urban studies and artistic research by showing that a route can function simultaneously as field site, archive, performance and epistemic device.
