We begin by asking permission, "bowing our heads" to those who came before, retracing a path to ritualize what the city systematically tries to erase. The video performance Kabeça is a prologue, a journey through the city of Lisbon, where we revere and pay homage in locations that mark the history of Black presence in this territory. Places that, for the most part, bear no mention of this colonial and enslaving past, but also one of resistance and struggle. On this ritual journey, we evoke that buried memory, reflect on the head and its many understandings, and take the first steps toward Kabeça Orí.

Kabeça Orí is the continuation of that journey. Now using theatrical language, we continue reflecting on the head. In Yoruba, the head is translated as Orí, more than a physiologically structured part; Orí is understood as an orixá, a god, a personal and inalienable deity. In contrast, we are taught that the head is just a part of the body, one that houses the brain and nervous system. The notion of "part," of dismemberment imposed by colonial logic, reflects in the body, the city, the senses, and memory in constant fragmentation.

In the diaspora, on stage, two Black women add their steps, building a path. Among fragments and connections, how do we disturb forgetting? How do we avoid losing our heads? How do we keep them held high?