Brazilian researcher and choreographer Ana Pi carried out a poetic and political research on traditional Haitian dances, their ancestral sacred gestures and their perpetuation in contemporary imaginary in dialogue with experimental filmmaker Maya Deren, who was born in Kyiv and in the 1940s and 1950s conducted a study on Haitian culture, dances, philosophy and Voudoun heritage. The two women share a transversal creative process combining artistic expression and research methodology. In a journey driven by a ferocious curiosity, Ana Pi weaves in fragility and balance, individual and collective memory, images of the past and futurity at once. Recipient of a scholarship awarded by the Museum of Modern Art in New York City and the Cisneros Institute for this creation, she observes what happens when the archives are re-activated. What memory remains of them? What role do films play in the transmission of a gesture? Nearly a century later, Ana Pi establishes resonances with the images from Divine Horsemen book and film left by Deren, as well as the legacy and dreams of her predecessor Katherine Dunham.