"Letter to the Body that Fights" is a choreographic piece, a solo, that presents itself as a letter written by a woman to the body that fights... hers, everyone's, as an intimate dialogue between corporealities, promoting a reflection on the struggles inscribed in bodies, echoing a revolution where the private becomes public. The idea of constructing a body that reflects its stories, resistances, and identities, without the same restrictions or censorship, but carrying them in memory, reveals the diversity and the ability of each individual to contribute with their voice, challenging hierarchies and fostering inclusion. 

The work "New Portuguese Letters", published in 1972 by Maria Isabel Barreno, Maria Teresa Horta, and Maria Velho da Costa, and which was seized by the censorship of the New State regime in Portugal due to its content considered subversive and challenging to the prevailing social and moral norms, reflects a deep critique of the social, political, and cultural conditions of women in Portuguese society. Challenging gender norms and social inequalities, expressing a search for freedom and equality, it directly confronted the conservative values promoted by the regime at the time, exploring themes such as love, sexuality, oppression, and resistance, inserting itself in the feminist movement of that period, which was significantly based on themes related to the female body and writing promoted by women. 

Maria de Lourdes Pintassilgo, in the preface of the book, highlights the body as the "first battlefield" and "preferred place of denunciation". This conception of the body underscores its constant manifestation and struggle in favor of fundamental values, such as democracy.