The Cabezadenego character was initially created for street demonstrations. His characterisation includes a loincloth, face paint and a shirt tied over his head. The initial aim was to highlight the stereotypes associated with the character’s body, i.e. the stereotypes of the black queer and the black man, which, in the macro view of Western society, are related to fear and desire. Cabezadenego’s stage play constantly explores these sensations generated by stereotypes. Cabezadenego is a connection between worlds, similar to Exú. He appears and disappears, performs unimaginable tricks, connects, takes, brings, spins, plays and has fun. He’s neither good nor bad, he’s half human, half entity, half superhero. The initial intention was to put a magnifying glass over these stereotypes, exposing the duality of fear and desire that they evoke. By playing with these sensations, the character challenges and subverts social expectations. Cabezadenego, as a liminal figure, transcends simple categorisations, functioning as a mediator between the human and the divine, between the real and the imaginary. His existence questions and redefines the limits of identity and representation, offering a new perspective on the figure of the black man and the black queer in contemporary society.