HALL12 in Riga, Latvia
was developed by
director Ieva Džindža
scenographer Līga Zepa








Briefly on introduction beginning

The first phase was e-mailing 

participants. Most of the e-mails were 

very personal with an attempt

to connect throw out share content.



The dramaturgy was - 

+ mailing 

+ before introduction 

+ coman introduction 

+ after talk structure

Also space dramaturgy was involved .

Participants had to look throw the building

to see the other participant. One can say

it was a small greeting choreography at 

the beginning of the walk.

After pre introduction, participants got a

little booklet for note during the walk with headline questions 

- what you depend on

where you are?

During the walk participants could choose

when to stop and answer the question-what do I see through the eye of the other?

What is the concept?
What is the dramaturgy?

What is the context/setting?

Dramaturgy starts with 

communication with participants

weeks before the walk.


Then the idea of walks themselves

grow out of images of empty

theater auditoriums. Watching 

theaters trying to find this balance

 with audiences the design of two

chairs came in

The dramaturgy of participants was that

everybody set off at the same time from

 different parts of the city and walked

 towards each other and end at

 the same place.

For the concept a group of researchers

and artists was invited as audience members.

It was more targeted on exchange on 

research field.

The dramaturgy begins with the first
communication e-mail letter
Afterwords participants receive a physical
letter which contained a map with the
meeting point location in Rembrant park
and balloonWhen a participant reaches the meeting
point balloons have to be inflated so it can
serve as a recognition sign for the other
When you find the other start walking together.
There is no root you just have to figure
out at one point when to say good bay 
and return at the starting point.

The start and end point was in Drift Lab

The concept was to see how one can

work with the instructions on the participant

mobile phone

Both of the creators couldn't be in the city 

physically so the format had a practical

side to it as well.

It was important to know how 

dose it feel to walk alone, but at the same 

time knowing you are walking together.

At end point people were received with

coffee and tea for the feedback session

Also, they got a notebook with a series 

of drawings and one question-

draw the root of you're encounter .

With tow color markers participants

 had to draw their experiencesAfter 

all that they received a QR code for 

the research  catalog where they could

later share their emotions from walk in 

public diary.

There was also the context of Beyond the black

 box festival.

We were exploring psycho-geography
and how meeting a stranger, and drifting
together mirrors someone’s individual
relationships with the urban environment.

Two strangers at a time were invited to
participate in the drift
(drifting in a situationist sense) through
Maskavas forštrate and to explore being
repelled or enchanted by what they find.

Participants took notes in our given maps.
The collection of notes visualizations
are available in Reasurche catalog.
Spectators were invited through a ‘domino-
selection’ where the participants chose
the next participants.

+Alos Contex setting was the Winter nights festival

Tow strangers meet at a certain location

in the city of Amsterdam and experience

silent walk which don't have concrete shape,

but have several steps that they have to follow.

The Contex setting was the city of Maastrich.

In the envelope there was also map which

showed how the participant had to place

them self in the meeting place .Also in the

envelope there was a smaller yellow envelope

which had to be open at the meeting point

with a balloon and a script.

+ Inflate the balloon

+ find each other 

+ start walking

The context setting is Athens

and its neighborhood

The script was made in a way that people

could open it on the mobile phones.

Tow people met outside of Maastric and 

from there they walked to a specific point 

outside of the city.

In terms of instruction, we always told them just one 

step in advance.

The context was how we set up the space for

 the experience.

The concept is a question -

how to create architectural dramaturgy

between tow strangers who 

haven't met before? 

Also context of the pandemic.

In general the idea was to stay as close as possible

to the primary TAAT concept of tow strangers 

meeting and experiencing the space together

This time it was neighbors who live very close

 to each other but don't know each other in

 the city of Athens.

The dramaturgy started on the hill. Each

one of the participants went on the separate

side of the hill and then there were tow

separate places where they would find a

little envelope with a balloon in it and next


One participant sees from the distance the 

other participants with the balloon and they

would start their walk.

(The balloon was used as a sign of recognition)

Artist delivered an envelope to participant

home .In the envelope there were tow things -

+ the general invitation 

+ invitation to implement three movements

in the walk which challenge and synchronize

the movement. 

(This wasn't a script, but a preparation

 to get in the mood of moving)

In terms of the dramaturgy thy start 

near their houses in their neighborhood, which

is point A and walk together to a 

point B towards some of the public 

space (parks, square)Public space

were chosen as destination because

it is a welcoming evairment for the after talk.

Invitation text-

After participants were selected they received

 an invitation e-mail letter.

We are inviting mainly research artists

from the circle of SAP organisation.

The advertising started one

month before the planned walks.

Invitation happened to throw the e-mail letter.

Invitation happened one week in advance.

Usually it was first a and second e-mail .

A very short time before the walk there

was a recheck on WhatsApp.

The creators chose just the first
tow participants and then every
participant invites the next person
who takes part in the walk.

Who are you inviting was influence

throw the communication channels

which we had - people who were

advertising the process (Creative Dunndy).

The target audience of Creative Dunddy is

people from art files which means

that most of the audience was

connected with art.

Invitation whent threw the Beyond the 

black box festival social media.

We started inviting 2 weeks before the


We created an advert that introduced the

project throw Creative Dunndy and

people could apply by e-mailing to 

specially created account.

Throw the e-mails we had

series of instructions that inform 

participants about the process.


This time we wanted a broader 

network of audience members 

so we asked collaborating institutions

to do a mapping around the institution

people. We were focusing on the farther

part of the network. When we find a

person we asked to find a less familiar

person to him or her. In this way we 

made sure that the ecosystem got broader.

Most important is the fact that the invitation

went threw the othersAt least tow weeks in


Who are you inviting?
How are you inviting?
When are you inviting?

The participant gets the invitation
letter by email ore sms.

Invitation letters were delivered personally.

The festival was manly online and this

project was one of the few things offline.

E-maile invitation with introductory information



The invitation happened by, call or message

and after the candidate agreed on taking

part in the walk they received an e-mail

 invitation with introductory information.

There was a process of exploring personal network and  notes

where taken of anyone who might enjoy this experience.

Then people where groped based on proximity of residence

and then a map of potential walkers was made.

The pairs where  formed  to include a variety of age,

gender, background and nationality.

Invitation happened in time,

which was most convenient 

for the participants.

Between April and November 2020

Participants were people from personal

network who were mixed with people

from invited institutions.

Invitation happened manly throw e-mail or with 

more closer people throw WhatsApp or Messinger.

Invitation time was one or tow weeks before the 

festival (11.12-12.12.2020).

Introductions form was inspired by theater scripts

For the idea of finding each other

we wanted to capture the first glimpse

uncertaintyWhen you have to look

for the other.

The playful solution for finding each other was

 the recognition sign of a balloon.

Instructions we all communicated in the 

invitation letter.

Most important things for the walk was -

+ keep silent 

+ keep together 

+ seperate for the way back 

+ to come back to the same starting

  point was important

The necessary instructions were in the


A mark for finding each other was the yellow balloon.

Allot of the instructions was created to suggest 

some kind of activity.

Instructions have to be as clear as possible.

Maine instruction was given 2 weeks before

the walk, but artists gave their contacts in

case of confusement.

Instruction - 

+ do it in silent

+ do the drift (there is no set root) 

+ return to the start point throw any root 

you feel 

+ stop whenever you feel like it and 

look through the eye of the other

The necessary instructions - 

Meet your partners at necessary place 

in the specific time.Then look for your partner ( looks were described in earlier email communication).

Wen participants met each other they

had to agree who will read out a short

piece of introduction text.


The start point is four locations in the Dunndy city center.
The endpoint is one common location- Slessor Gardens.

Instruction communication manly throws e-mail

The instructions were communicated by

 e-mail before the walks.

For the meeting day a time and a date 

were organised and on the day

participants got a call to confirm

that  they will be at the location.

Instructions were formulated every

 time using the same emile and 

just changing the dates,

names, visual descriptions.

The formulation of instructions where an

experimentInstructions where double

There was the writing instruction in website

and also audio reading of them parallel to the text.

The instructions had to be formulated very clearly!

It was possible to find the walk partner by

using the short visual description of the

other participant which where fond in the e-mail.

Participants found envelopes in which they could 

find a balloon. One could find the parter by seeing 

the balloon in the distance. The balloon was a playful

 recognition sign for both participants.

Drift Lab feedback session


There are three basic rules guiding your through this experience: 

1. Stay silent until the end

2. Walk simultaneously, find a common pace

3. Explore the walking speed as your common language

At [.........], you decide together what happens next.

For the walk it self it wad the basic rules-

1During the walk sty silent and don't talk
2.Stay together and find a common pase

The first thing was to communicate the fact that participants

had to go to their phones and find TAAT live archive page

where they would find the instructions.
PDF of instructions was made and then TAAT

recorded the instructions and comments about them

This has become a guiding video of filmed TAAT archive page 

which was mixed with video of the real location.

What are the necessary instructions?
For the walk?
For finding each other, when/where/how?
How to formulate the instructions?
When/how to communicate them?

General introduction with TAAT
and other walks in EU.

Invite a friend who could be open for the experience


After he or she agrees share their contact and we send
the official invitation


You don't have to formulate much of the information
because we will send the invitation letter with all the guidelines.


The communications have to be simple and precise,
so the participants don't get confused

Basic information is presented separately,
but the rules are presented for both of them together

1.During the walk sty silent and don't talk

2.Stay together and find a common base

3. Mark in the given map things you think
the other participant is thinking or feeling

It was very important 

to explain how to get

to the live archive and 

that you can only open

the videos at specific


Always at the end

of instruction, we

would say -

when you are at 

this point than 

open the next


Each participant got

a filmed video in the

instruction of his or

her perspective of


Also, each participant

had his one personal

guiding voice in the


It wasn't hard to relate to the participants

because the trust was created so 

all of them felt very secure.

The process of the walk wasn't documented

because there was this idea of leaving

the participants in privacy.


In terms of recordings there was series

 of opportunities to record -

+ in feedback space there was pens and paper for notes 

+ also recording was the note book from the walk

Secure framework -

  • clarity
  • being concise
  • being communicative 
  • being available
  • being encouraging

The guidance happens throw the instructions

Secure framework was created through the super personal

approach and the care we put in all the little things.

Hiden racoginition evolope

Trust frame is fixed when the participants are 

greeted at the end of walks and have a 

chance to share their experience.

there was this optional documentation.

After the walks participants could answer

some questions, but most of the filed

paper stayed with them.

One can relate to participants using very close 

and personal communication.

One can relate to participants by being as

transparent as possible in the 


Create a secure framework by creating
precise rules to follow


Guide the walk by intuition and no
verbal communication.

Relate to the other by absorbing
the other


The walk was documented by photos
and notes taken on the maps which
were given to the participants.

The last step was to gether the information
and put it in the Resurch catalog.

The guidance happens throw the instructions.

The only recording from the participants

at the end is the drawing on the experience.


Only side thing was the photos which were

taken from one of the walks.

Secure framework was created by close 


One way of securing is to really make sure

that participant meets the other participant 

and he or she don't feel abandoned

Artist also have to be around in case of 

something goes wrong.

The Silent Walk
How to create a secure framework ?
How to guide the walk?
How to relate to the participants?
How to record the walk?

For documentation video format was chosen.

The filming captured only the final moment

of the participant walk - reaching the Slessore

Gardens and finally sitting down for a 

moment of conversation.

From the moment when people feel that 

there is clear in the communication one 

can feel that the framework is safe.

The walk can be guided with the help of the script.

One can relate to the participants if 

one test the walks. It helps

to imaginate situations.
Also, another significant point is that 

one as a creature has taken part in

some of the previous HALL walks.

To create a secure framework one has to

build trust through communication.

This bond is more fixed in friendly

e-mailsAlso the trust grows if one

is very precise in all the instruction details.

Welcoming environment- 

+having someone there at the feedback space

(just in case)

+ofering coffee and tea

One can create safe and welcoming

situation by showing care

And in Athne case the fact that 

the creator personally knows the

participants definitely helped to

relate with them.

We had a very nice indoor space for

the feedback session.

Relating to the participants happened afterwards

through a call or WhatsApp conversation.

How to create a space in which the silence can be broken?
How to creat a situation that is safe and welcoming?
How to relate to the participants?

The place where the silence got broken had

 to be very warm and welcoming -

 like a a casual greeting talk.

From the feedback only 5 people out

of 10 agreed to be recorded. All 5 of 

the recordings happened in very safe

spaces - 

  • one was at persons home
  • one was in persons teras
  • three more happened in the quieter side of the park

It was in the instructions to come in the final 

location space and take your time

There was coffee and tea and a mark that if 

the participants feel like it they can do the


The spacial set up was very carefully created.

The walls were covered with print outs from

other walks which gave the participants time

to sink everything in and get used to 

the space.

The space reminded of an open research place. 

There were tow spaces. In one there was this

projection of other HALL12 interviews and on

the other side of the wall there was this feedback

table with an artist who offered to record the 

conversation and immediately open up the 

result on the projection screen.

One creates a space where silence is broken

by drawing clear rules to every space.


Safe and welcoming space is created with free setting.
Starting with something as simple as a

cop of tee and cookies to enyo

during the conversation.


It is easier to relate to participants after you as

creator take some test walks.Then you know all

the feelings and situations better and it opens

up the conversation

Coffee and tea were offered in the feedback

 space which made it more welcoming.

The space where the silence can be broken

is created by framing the end part of the walk.

The information was already formulated in

 the introduction letter.

Knowing all the information gives the

person sense of security.

Feedback question

Short about the beginning in feedback space

How to gather feedback?
In which form?How to record the feetback?

1.Docomentation is the maps that participants take with them.

2.Docomentation is some questions participant needs to
answer before starting the feedback session.


1.Describe your exsperience of the journey.
2.How did you negotiate the route with your partner?
3.Did your interaction with your partner develop or change
throughout the journey?How?
4.Did the walk alter your perception of town/city or prompt
you to see it in a different light?
5.What did you enjoy most about your experience?
6.What was your biggest discovery?
7.Describe your experience in 3 words.
8.What question would you like to ask your drift partner?

When one chooses the video format one need to answer some questions-

  • How to do the video?
  • What  framing to chose?
  • What filming Engels?
  • What are the criteria for editing?
  • What to do with the sound?

The video was the only one official documentation

It was intentional decision not to document the walk

process so it stays a secret between the participants.

All feedback fixation is basted on taking notes.
Participants take notes during the walk and
we (authors) take notes during the feedback talk.

Fatback sheets were used together

the information .When participants 

sent them in e-mail they also commented

the walk on phone conversation.

The form of the feedback is fixed in written notes and video

After the walk the participants received

the e-mail in which there were three 

options how to give a feedback-

  • throw video interview with the creator
  • throw written response 
  • throw answering three of 10 given

       questions about the walk


+feetback sheets 


+talking on the phone

Feedback can be split in tow parts-

+during the walk (note book) +after the walk (recordings and drawings)

Gathering of the fatback happened with

the audio recorded interview, which were then

later transcripts and edited.

The recording way shoed the participants

 that their word are handled with care.

In the feedback part participants had

to make the drawings of the experience

and later they had the opportunity to leave 

notes in research catalog as well.

In the test runs the wher experiments 

with audio recordings, but eventually they 

were too long to use.

Description of live archive material

The documentation becomes more available when
all the steps were uploaded in the Research Catalog.

How to document the experience?
How to filter out the data?
How to make that documentation available for others?

Transform all the notes to digital format by,
scanning and photographing.


Filtration of data happened by taking out the
notes from the created maps and making a Drift poem.


The documentation becomes more available when
all the steps were uploaded in the Research Catalog.


  • drawings of the participant 
  • written participant answers to feedback session question
  • process pictures
  • walk documentation pictures

The video format grows out of the image of a final

moment of the walk when arriving participants taking

seats one by oneIt created a feeling that this 

should be documented as a movement/action.

In this case the filtering out is the editing 

of the video and for the there was some 

key points to follow-

  • it is necessary to see how time passes by
  • capture how every pare arrives at endpoint
  • fix how every pare leaves 
  • it is necessary to capture the body language

(video didnt record the conversation that way

 this was important)

The documentation becomes more available when
all the steps were uploaded in the Research Catalog.

In this case the date filtration was video editing

 and there was some criteria for that-

  •  to keep it short (under 3 min)
  •  to keep the text short (one paragraph long)
  •  to edit out not so mach the answers but to

         stick with feelings and moments

The documentation becomes more available when
all the steps were uploaded in the Research Catalog.

Documentation of the experience-

+photos of the walk 


+featback sheets

One can see very well how the experience

is documented in the research catalog.

There wasn't mach filtration of the date because we 

didn't have so much material.

+ Setup is the table and gathering the feedback

+ Talk would be the medium 

+ Recording would be the recording by phone 

+ Transcription throw artist lens to a public pad 

   which was open for others

There are tow levels for the data-

 +first impression of the artist 

(much more about artist interpretation of coming in)

+notes from recording (much more literal transcription)


Trying to be precise in choosing what to show 

and what not.

For documentation of the recording we took

the moderation process  was very personal.

It was also interesting to understand what is the

role of the artist in relationship with participants.