The video performance barullo a la orilla (2025) by siblings mulowayi iyaye nonó and mapenzi chibale nonó, known as Las Nietas de Nonó, evokes a continuous desire for intimacy with the coastline of Puerto Rico, a coveted space shaped by dispossession and resistance. Using patterns created with coconut palms and string figures, they establish visual dialogues unveiling the interconnectedness of the Caribbean archipelago and the tensions between ancestral and extractivist practices. The  Reserva Natural de Humacao, on the southeastern coast of the island, is the locus of their film: an area that has stood as a witness since 1986 to the communitarian fight for the preservation of its Pterocarpus forests, wetlands, and mangrove ecosystems. The scars of colonial and imperialist history in the area remain palpable via the remnants of the 1930s sugar cane industry, an abandoned water pump, and the 1940s military structures built for the Second World War and the US army. The concept of solastalgia—the deep sadness and distress caused by the deterioration of the land—and the profound grief experienced due to the exploitation of the coastline motivated Las Nietas de Nonó to reflect on a sense of place cultivated individually and collectively. Reclaiming cartography as an Indigenous practice, through a choreography of movements, rituals, and weaving techniques, the artist duo proposes a speculative and contemplative approach that examines both the decay and abundance of this territory.