Catol Teixeira returns to Santarcangelo with a choreography inspired by a 1920s work, Nijinsky’s Afternoon of a Faun: an original interpretation, which, at that time, was opposed and judged as scandalous. By blending formal techniques, movement repetitions, sounds and poetry, the artist offers their body to the audience in an intimate, elaborate dance that clashes with different dance references. Catol Teixeira dialogues with sounds, with the opaque transparency of their costume and the white fluorescent lights that draw the boundaries of the space they move in. Playing with plasticity and glitching Teixeira’s movement techniques, the work draws attention towards the notion of prosthesis through the things used during the performance, readings of genders, cultural references, language and imagination. The figure of the faun exists here as a queer ghost to dance with, inviting others to inhabit the space for a dance to remembrance and forgetfulness. “Clashes Licking” is a dance that tenderly exposes a gesture of transmutation as a secret whispered in a dream.