Despite growing recognition of nature-based solutions (NBS), there remains a research gap in understanding their implementation in urban areas, which poses a significant challenge for urban forest development. Therefore, our paper aims to explore the intersection of NBS with urban forests (UF), identify current barriers, propose strategies to maximize the potential of urban forests as nature-based solutions (UF-NBS) in effectively improving the resilience of urban forests, and enhance the service capacity of urban forest ecosystems. To achieve our objective, we conducted a comprehensive analysis that included a bibliometric review to summarize the evolution of the UF-NBS literature and classify UF-NBS types for the first time. Subsequently, we identified and organized current challenges faced by UF-NBS. Additionally, we proposed an original technological framework system for urban forest development based on NBS principles. The results show the significance of UF-NBS for enhancing urban resilience and human wellbeing, with multiple successful implementations in both China and Europe, validating their effectiveness. However, the implementation of UF-NBS faces several challenges, including inadequate financing, the gap between scientific knowledge and practical implementation, the absence of region-specific information, and the need for interdisciplinary collaboration. This study contributes to establishing a scientific theoretical basis for integrating UF and NBS and provides a systematic approach for decision-makers in urban forest management. Future research should focus on exploring the integration of UF within the NBS framework and prioritize knowledge sharing, international cooperation, and education initiatives to promote the global adoption of UF-NBS and address pressing urban challenges.

This article develops the dancers’ choreographic notebook as a cross-disciplinary documentational device in the representation and analysis of multi-sensual qualitative sources. Drawing upon fieldwork collected during a London-based research placement with the dance company BalletBoyz, I endeavour to extend critical debates around the body and performance within human geography to examine the ‘more-than-representational’ methodological possibilities affiliated with performativity and its allied body of literature. In performing this methodological approach, I first hope to encourage experimental and creative documentational methods for conducting vibrant, engaging geographies of the body. Second, I affirm the centrality of sensuous, embodied accounts in the research process. Finally, this article seeks to equip others in their investigations into re-imagining what ‘physical’ thinking might look like. In documenting the body, I hope a space may be created to rethink the ontology of the body beyond the dualisms of absence or present.

The emergence of air power as the pre‐eminent method of warfare prompted a decision, made at the highest level, to form a new arm of the British military. The Central Landing Establishment was founded as parachuting headquarters in 1940, and tasked with developing and implementing the means for training and delivering airborne forces to the ground. With woeful shortfalls in aerial knowledge, experimentation proved crucial. The paper examines the recruitment and synthetic ground training of the British Parachute Regiment at Ringway Aerodrome (1940–1946), and their experimental exchanges with “specialists” in the art of falling. More specifically, in the absence of a recognised landing technique, and with associated high injury rates, Ringway turned to movement theorist Rudolf Laban to advance its embodied aerial practice. The paper will explore how militaries have long recognised the centrality of such embodied and aesthetic regimes to the doing of geopolitics. In particular, it foregrounds the multifaceted, micro‐bodily practices – operating through complex interconnected spatialities – that comprise the waging of war. In turn, it asserts the significance of the aesthetic in understanding how geopolitics takes place and is implemented in the world. In doing so, the paper unpacks the “art” within the art of war.

Testimony has featured as a defining framework for post-Apartheid South Africa in traditional courts of law and under the guise of Truth and Reconciliation. Yet South Africa’s effort to transition to postviolence must be read as partial, with rates of gender-based violence amongst some of the highest in the world. The article traces the convergence between performance and testimony. It examines creative efforts to respond to South Africa’s cult of masculinity, which positions women as “fair game,” and judicial ambivalence to perpetrators of violence. I turn to the testimonial-come-documentary dance Slavery to examine the critical and creative possibilities of dance performance to testify to the absent presence of this national crisis, rhetorically probe dancers, and audiences alike to find opportunities for its contestation, whilst questioning how and even if the arts are best placed to respond to judicial failings. The article introduces three distinct dance spatialities—esthetic, ethical and political space—through which offstage enactments of gender-based violence are upstaged and contested. Nonetheless, these are presented as deeply contentious spaces, in which new silences and violences of the body can be enabled, and where performance risks operating as a “third assailant.” The article calls for greater critical conceptual attention to thinking intimate geopolitics through creative performance.