Inside the Ever Evolving Creative World of Movement Artists Eddy Soares and Jujuliete

Eddy Soares and Jujuliete are Brazilian movement artists whose work has moved effortlessly between underground culture and global pop stages. Eddy has danced on major world tours including Rosalía’s MOTOMAMI, alongside choreographing for artists such as Selena Gomez, Tove Lo, Anitta, Marina Sena, and Pabllo Vittar. Jujuliete, a leading figure in Brazil’s ballroom scene and Brazilian Mother of the Iconic House of Ninja, has collaborated with artists including Ludmilla, Dennis DJ, Felipe Amorim, and Baco Exu do Blues. So naturally when it came time for FKA Twigs’ EUSEXUA tour, both were cast with Jujuliete getting her own solo whip performance. With a friendship spanning over a decade, long before the global stage Eddy and Juju were there for each other – training, exchanging creative energy, ideas and support – a true testament to the extent of their collaborative bond.

Alongside an exclusive editorial, Noctis speaks to Eddy and Jujuliete about the EUSEXUA tour, how they maintain interest in body movement work and Circus school. Eddy reflects on the intimacy of dancing for the camera versus the collective energy of a live audience, while Jujuliete speaks on discipline, risk, and carrying the legacy of the House of Ninja into every performance. Together, they explore what it means to stay grounded, curious, and connected to their bodies as their work continues to reach new audiences.

Hi Eddy and Juju, thanks for speaking with us today. So did you meet on FKA Twigs’ EUSEXUA tour or did you already know each other?

Both: We’ve known each other since 2015, fortunately. We had the opportunity to witness each other’s growth in life and in our careers — to see where everything began, when we didn’t have much yet and were there training and creating together.

Was there a grounding point or a way to stop yourselves from getting tired of performing the same routines over a tour? Was there a way you made it feel fresh each show?

Both: I believe the show is always renewing itself. Each stage, each city, each audience creates a new sensation and a new sense of power in being on stage.

Are there any crazy tour stories you can share with us?

Both: We were all staying together in a house while rehearsals were happening in London. It was late at night when we suddenly heard a huge crash. We ran out of our rooms completely terrified — part of the ceiling had collapsed because of a leak. It was scary, but we were safe. It was just a fright; they fixed it and everything went back to normal, but we kept talking about it for a long time afterward.

You’ve both been dancing for a long time, is there something that keeps you curious about the different ways your body is able to move?

Jujuliete: For me, the body is a constant engine of change — that’s what fascinates me most in life. As we grow and mature, our bodies do as well, and the power of dance is exactly in evolving our movement alongside the possibilities of our bodies.

Eddy: What keeps me curious is knowing there’s always something new to discover. The human body is multiple, and as you grow and mature, your body grows with you. As your mind and your view of the world evolve, your relationship with movement evolves too. The way you move, walk, speak, and gesture. That constant transformation is what keeps me curious: the sense that the body is never finished, always in dialogue with who you are becoming.

You were on the MOTOMAMI World Tour with Rosalía. What was that like? Did you have a favourite song or choreography from the tour?

Eddy: It was something very powerful to be part of. The MOTOMAMI World Tour truly marked a shift in the game. It was one of the first major tours to happen right after the pandemic, and living that moment was incredibly intense. There was this collective hunger to be back on stage, to feel the audience again, to reconnect through live performance. That energy was very present throughout the tour, both onstage and offstage.

If I had to choose a favourite song, it would be Diablo. Interestingly, it didn’t have choreography, but it was still my favourite track from the tour. In terms of choreography, I absolutely loved dancing Bizcochito. Beyond the movements themselves, the choreography was playful and bouncy, it naturally invited the audience to jump along with us. I have very vivid memories of us jumping on stage and seeing the crowd right in front of us doing the same, exchanging that energy in real time.

Is there a difference in feeling dancing for a camera versus dancing in front of an audience?

Eddy: Yes, there is definitely a difference. Dancing for the camera feels much more intimate to me. When I’m dancing for a camera, especially when I’m looking directly into the lens, it feels as if I’m looking into an eye. There’s a closeness there, a one-to-one experience between you, the camera, and the story you’re trying to tell in that moment.

Dancing in front of an audience, on the other hand, means engaging with a collective energy. It becomes a powerful exchange: the more you give, the more you receive, and the same goes for the audience. The more they give, the more they receive from us on stage. That mutual flow of energy is very unique.

Personally, I love both experiences deeply. If I spend a long time dancing mainly for the camera, I start to miss the stage. And if I’m in a long period of performing on stage, like I have been recently, I begin to miss the camera just as much.

Do you have an ideal setting when choreographing? Do you prefer being alone or in a studio with other dancers?

Eddy: When I’m choreographing, I really prefer to be alone, at least at the beginning of the process. I like to close my eyes and listen to what my body wants to say, or to what the music is asking for. I pay attention to how the beat, the melody, or the voice of the song creates a pulse in my body, what starts to move inside me when I hear that music.

My process is very much about feeling. It’s about sensing something internally first, planting it, nurturing it, and allowing it to grow. Only after that does it fully bloom, and that’s when I feel ready to share it, to exchange, and to let others take part in it.

You’re the Brazilian Mother of the Legendary House of Ninja, is there anything physical or mental that you carry with you from your house wherever you go?

Jujuliete: Yes. Beyond the physical construction of my body in performance, being part of a main house like Ninja keeps me connected to the history of ballroom around the world and constantly reminds me of our power of expansion — how far we can go if we believe.

How does your Circus School training show up in your performances and what did it teach you about your relationship with your own body?

Jujuliete: Circus training taught me a lot about discipline and fragility. At the same time that we train and train to strengthen our bodies, the body remains a complex organism that can sometimes fail. No matter how trained it is, circus taught me how to deal with risk — and how to get out of it when necessary.

Your single Dominatrix inspired you to incorporate whips into your performing, are there any other skills you want to learn that we might see influencing your performances?

Jujuliete: I see myself bringing all circus skills onto the stage and turning them into a spectacle — from whip manipulation to hand-balancing, tightrope walking, aerial work, flying trapeze. My dream is to create a show that is, at the same time, a full circus spectacle.

Do you have any words of inspiration for anyone who might want to follow in your footsteps?

Both: Always believe in your uniqueness. Nothing and no one will do things the way you do in the world. Only you vibrate your soul the way you do, and no one else can vibrate at the same frequency. You are unique.