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Footpaths for Dum-Dums
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Tiana Joe
Fernandes

For the first time, more humans live in cities than in rural areas. A billion vehicles populate the roads, yet many urbanites manage without private transport. Not by choice, but necessity. How do they slip through spaces built for machines but lived in by humans? By mastering the art of ‘Street navigation’. 

THIS FIELD GUIDE is compiled with the noble intention of maximising, well, making do with whatever crumbs of concrete we have and tuning out the bureaucratic limbo. It is a cunningly clever, comprehensive compilation of absolutely all that can be done on a footpath.​

Disclaimer: If you’re among the top ~10% living in parts of the city that function as advertised, this manual won’t be of much use, except, perhaps, on your daily commute. While specifics vary, this manual applies wherever sidewalks vanish and pedestrians must improvise, from Mumbai to Lagos, São Paulo to Dhaka. May this be a textbook of survival and street economics.

Chp. 1 Right-of-Way

Right-of-Way (RoW): The total width of land legally reserved for a street, from one private boundary to the other.

The RoW signifies public access over land cared for by authorities. The word “public” stretches quite wide here, and we’ll explore its limits later in this manual.

Chp. 2 No-mans Right-of-Way 

Privately owned, publicly exploited. Mapped, but never built, stuck in a bureaucratic limbo. Perfect for impromptu parking, unsanctioned bus stops, or your new ‘vadapav’ venture. Bonus: those tiny <50 ft no-man’s RoWs; Ideal for civic compost heaps or shortcut gullies, where people tiptoe over trash to save five.

Chp. 3 Footpaths for Shelter and Survival

The wild flora on the curb always trying to encroach. The little fauna that scurry toward you when you tss’ tss’ . Occasionally, the big ones appear, startling you off the path and onto edges.

Your unfortunate brethren species, playing house-house, wrapped in a blanket and a jhola, holding their entire world. A barbed wire wall, a fragile shield, keeping him and his family from the dangers of the outside world.

Abandoned on a pavement crevice, a hollow mummy, once a prestigious vehicle, its insides gutted and sold for another’s survival. The shell was left behind for children to crouch and play hide and seek.

The bureaucratic infrastructure: eerily flickering light poles, power boxes, and generators planted dead center in your path, waiting for your distracted forehead to bump. Who’s still plugged in anyway?

The unlit corners planners forgot to ‘FILLET’ invite the scarlet spray, a tinkle, or ‘pavement pudding’. Every stroll triggers a gag.

​A line of buzzed Cinderellas sat on the curb waiting for cabs as the clock struck. Across town, a Veeru slides off a water tank and sprawls on the pavement after his nightcap.`

The abyss, below bridges, under tracks, the stairwell that leads nowhere. No one finds it. Except maybe the contractor who built it. Or that forgotten path along the new highway, tucked far away by a high median. The one no one dares to use. Home to carcasses, backed-up drains, and the world’s garbage. What else is an abyss for, if not to hide a body?

Chp. 4 Footpaths for Intimacy

When the monsoon blues dawn, head to the footpaths and play Minesweeper. Pick the wrong tile and the path spits back at you. Nothing short of Squid Game.

​Shoulder-drain puddles gnaw at the pavement. You soak up the bittersweet sight of homeless children splashing in their DIY waterpark, rolling your pants up for the hop-skip-jump over a stray cinder-block trail left behind by someone kind.

​Refreshing overgrown bushes and Ashoka trees host an ecosystem of birds, and the occasional pair of hiding lovebirds. Approach too fast, and you’ll startle them.

Chp. 5 Footpaths for The Hustle

You’d be a fool to use the footpath along shops and galas, thinking you won’t buy anything. This space belongs to the ecosystem of retail.

Signboards hang, sway, and jab at you, BOLD, YELLING TEXT!!! CALLING YOU IN!! Vibrant yet oddly repelling. Vendors line up in shoebox stalls; shelves fill the crevices of colonnades. You enter this hypnotic tunnel and lose track of day and night. The shafts of light peeking through are purely decorative.

​The footpath levels follow the height of unloading tempos, creating an uneven terrain perfect for practising parkour. The only safe direction here is towards storefronts.

​Tailors pedal machines, mending city seams on the curb. Barbers shave clients in the open air, hair drifting into dust. Shoepolish boys chase ankles, selling polish to people already running late.

Tea steam curls upward, pulling in sleepy office-goers. Crowds gather by the crackling mustard, clinking metal, and the burnt butter aroma. Cars parked beside food stalls, play basketball with overflowing bins. If you think you can drive by this lane in a rush, sorry! Every inch of road is an unplanned ballet of parking-unparking, sweepers, and pickers dancing in between.

​Keep your wallet buried deep inside your bag. Because before you know it, you’ve crossed into the busking zone, and you’re about to be blackmailed bankrupt.

​Chp. 6 Footpaths for Movement

The most animated terrain.

Traffic clogs the road, scooters and bikes claim the footpaths as backup lanes.

Herds of cattle prune the overgrown bushes, giving the space a whimsical rural charm.

Army of children with luggage aboard, cycling on the edges. Afternoon slumber broken with gleeful giggles.

​Stray dogs sprint and wrestle, cats dart between garbage piles like shadows. Pigeons explode into flight when someone claps near their grain patch.

Monkeys raid fruit carts, adding aerial action to the lawless street.

Chp. 7 Walk

Amid commotion, a slim path appears. Narrow, barely there, legally yours, defiantly so. Proceed to walk, with caution, with conviction, and absolutely no guarantees.

The city was never built for you, yet here you are, surviving it anyway. This concludes the MANUAL: may fortune favor your every step. Now, stride on.

Also read from this series: Going No. 1 & 2 for Dum-Dums, Public Transport for Dum-Dums, and more.

​

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