Post-representational cartography views maps as inherently unstable and unfinished, always in the making and thus singularly open for refolding and re-presentation. This perspective on maps calls for greater attention to the performances, negotiations, and contestations that occur during the ongoing production of maps, particularly in cases where maps are developed during collective, collaborative, and participatory processes in indigenous landscapes riven by conflict and struggle. In the following, we examine the role of walking for the continual (re)making of participatory maps, specifically engaging with work in indigenous methodologies to consider how an emphasis on performativity in map-makings may foster a post-representational perspective on indigenous cartographies. We understand walking as map-making, a form of knowledge production generated by performative and situated storytelling along paths and in places filled with meaning. Drawing on a critical understanding of ‘invitation’ and ‘crossing’, we build on our experiences from participatory mapping projects in Mexico, Venezuela, Ecuador, and Brazil to explore the ways in which the material, performative crossings of bodies through indigenous landscapes may inspire new forms of knowledge production and destabilize Cartesian cartographic colonialities.

后表征制图认为地图本质上是不稳定和未完成的，总是在制作中，因此非常适合重新折叠和重新展示。这种对地图的看法要求更多地关注在地图制作过程中发生的表演、谈判和争论，特别是在被冲突和斗争撕裂的土著景观中，在集体、协作和参与过程中开发地图的情况下。在下文中，我们将研究步行在参与式地图的持续（重新）制作中的作用，特别是参与土著方法论的工作，以考虑在地图制作中强调表现性如何促进对土著制图的后表征视角。我们将步行理解为地图制作，一种知识生产形式，由沿着路径和充满意义的地方的表演性和情景式讲故事产生。基于对“邀请”和“穿越”的批判性理解，我们以墨西哥、委内瑞拉、厄瓜多尔和巴西的参与式绘图项目的经验为基础，探索通过土著景观的身体的物质性、表演性穿越可能激发灵感的方式新形式的知识生产并破坏笛卡尔制图殖民的稳定。