Two intense and precious weeks of residency came to an end. Grateful for the time, space, and presence that allowed me to dive deeper into The Vanished Color, my ongoing solo research creation project.
During this period, I also had the pleasure of leading a club de danse workshop, sharing movement and energy with wonderful participants.
Thank you so much to everyone who shared the studio, the questions, the silence, and the process with me @urubumarinka (music) @rodrigo_batista_ (dramaturgy). Special thanks to @ici_ccn_montpellier_occitanie@lifelongburning for making this possible and for supporting this process.
This is just a step—fragile, alive, and vibrating toward what’s to come!
La Couleur Perdue - The Vanished Color
Production: Vanishing Monuments - Delegated production: Golden Hands @bll_lul
Co-production: ICI-CCN de Montpellier - Occitanie – as part of the Life Long Burning project supported by the European Commission.
{full review in bio} Crítica: “O corpo afrouxa, os pés se arrastam pelo chão. As mãos se agitam pelo ar, as bochechas se enchem para acender um fogo imaginário com o sopro que escapa. As ações dos três performers estão em fluxo constante. Algumas sequências de movimento retornam repetidamente como leitmotifs: assoprar, afastar algo com as mãos, andar de quatro, ou enroscar-se uns nos outros. Outros elementos gestuais e miméticos também reaparecem em variação: procurar algo, farejar, tocar, se escorar contra o ar. Puxar algo, uivar, bater os pés, gritar, golpear.
A coreógrafa Isabela Fernandes Santana inspirou-se na prática de queima e produção de carvão para criar a peça de dança de uma hora O Que Resta do Fogo. Não na sua forma industrial de hoje, mas no ofício tradicional da produção de carvão como foi praticado por séculos ao redor do mundo. Junto com os bailarinos, ela mergulhou profundamente nos processos de corte e queima da madeira, de destruição, decomposição e transformação do material, de suportar o calor e o trabalho físico árduo. Mesmo que todos esses detalhes não sejam imediatamente reconhecíveis à primeira vista na peça.
Sim, com suas cenas ambíguas pode às vezes parecer quase hermética, porém com O Que Resta do Fogo algo verdadeiramente notável emergiu. Uma coreografia difícil de descrever—justamente porque oscila constantemente entre movimentos cotidianos propositais e tonteira inquieta, entre brincadeira e luta, nonsense e sedução, a corporificação do trabalho árduo e o uso de arcos cinematográficos de tensão.“ (continua nos comentários) photo @mayrawallraff
O Que Resta do Fogo is inspired by one of humanity's oldest crafts—charcoal production—and its deep connection between body and nature. Charcoal burners live a paradox: they are guardians of ancient knowledge and, at the same time, agents of destruction. Entire forests have been cut down over centuries, and yet the fire that consumes can also regenerate. The knowledge that destroys also holds the seed of renewal.
The choreography follows the cosmology of this work—one that knows before it sees—through changing air, shifting smells, and the invisible spread of heat. It is an attempt to embody the memory of the forest: what existed before, every tree felled, every cycle of burning. Every repeated gesture leaves its mark on skin and muscles, inscribed in the intimacy of perception.
Choreography Isabela Fernandes Santana
Dance & Production. Julek Kreutzer, Mariagiulia Serantoni and Felipe Fizkal
Music. Michelangelo Contini
Light design. Eduardo Abdalá
Dramaturgical support. Polina Fenko
Voice. Maja Olenderek & Alexander Vega
Costum advicer Suelem de Oliveira da Silva
Photos: @mayrawallraff
Coproduced by Tanztage Berlin in its 30th version, at Sophiaele Berlin. Curated by Mateusz Szymanówka
Deep thanks to. Peter Pleyer, Manuela Garreton, Lina Gómez, Marina Sarno
We are please to introduce our collegue and collaborator Choreographer Isabela Fernades Santana. Who is composing our new project and contribution "O Que Resta Do Fogo" that will be premiered at the 30th version of Tanztage Berlin in the @sophiensaele this 13th and 14th January.
Isabela Fernandes Santana is a dancer, choreographer, and teacher from São Paulo, currently living in Berlin and Paris. She participated in the ImPulsTanz Festival as a Danceweb participant in 2017 and was selected for DANCE HUB Berlin as part of the European project Life Long Burning. Her current solo project is co-produced by ICI–CCN de Montpellier – Occitanie. As a dancer, she has recently worked with Calixto Neto / VOA (FR), Michelle Moura (DE), Meg Stuart / Damaged Goods (DE/BE), and Volmir Cordeiro / Donna Volcan (FR).
We are much looking forward to see you all at the tanztage festival to share with us this work and many other contribution for emerging artists colleagues based in Berlin
Photo: Julia Maretto
We are pleased to invite you to witness and experience our new production as bottom up productions in collaboration with choreographer Isabela Fernandes Santana and dancer Mariagiulia Serantoni. We are contributing with our premiere “O Que Resta Do Fogo” to the 30th edition of Tanztage Berlin.
“O Que Resta do Fogo” is inspired by one of humanity’s oldest crafts, the charcoal burner and their relationship with the body and nature. They inhabit a paradox: guardians of ancestral knowledge and agents of destruction. Forests have been felled over centuries, but the fire that heats can also regenerate, and the knowledge that destroys holds the possibility of renewal. The choreography investigates the cosmology of this labor, one which knows before seeing: through altered air, changing smell, and invisible spreading heat. An attempt to embody the memory of the forest, each felled tree, each combustion cycle, each gesture inscribed on skin, muscle, and the intimacy of sensing
come to see us here:
@sophiensaele
January 13 & 14, 2026 at8 pm
Sophiensaele Berlín
Festsaal
Sophienstraße 18
10178 Berlin
Choreography: Isabela Fernandes Santana
Dance and Production: Felipe Fizkal, Mariagiulia Serantoni, Julek Kreutzer
Music: Michelangelo Contini
Light Design: Eduardo Abdala
Customer advisor: Suelem de Oliveira Da Silva
Photographer: Jetmir Idrizi
Dramaturgical support: Polina Fenko Curator: Mateusz Szymanówka
Thanks to: Lina Gómez, Marina Sarno, Manuela Garreton, Peter Pleyer, Andrea Parolin.
(português nos comentários) Today I feel like writing about my mother here, a very rare desire. Writings from some time ago.
Life without a mother just isn’t the same.
In my case, it’s been too long, and nothing feels the same.
The loss of my mother’s memory (and of what the world is) made her lose her sense of shame, the logic of time, relational logic, the logic of facts, and moral logic.
My mother lived for twenty years defying the rational world, inhabiting the edge between the acceptable and the absurd.
Today, as I look at the world, I can’t help but turn to the wisdom of the absurd left by the maternal presence I once had. After all, who could navigate this world that has become so hard to understand?
My mother lost logic, and wouldn’t she be the ideal person to interpret the world? Perhaps it was her own way of staying sane.
She passed away in 2020, and I’m still navigating the portal of living without a mother. It’s been wild, yet alive.
When I was 10 years old, she wrote to me, and I carry this with me:
“Life is full of dreams, because dreaming is necessary! Dream, child, dream good dreams! And beautiful dreams! And may all your dreams come true!”
Always, I love you ♡
“Oxum que cura com água fresca
Sem gota de sangue
Dona do oculto, a que sabe e cala
No puro frescor de sua morada
Oxum é água que aparta a morte
Oxum melhora a cabeça ruim, a yê yê orarei!”
2022 watery feelings
with @tom_delanghe
