Memórias de uma Língua de Cão constitutes Mapengo Námoda’s take on tongue knowledges and the politics of erasure that have long been operated on Echuwabo, her mother tongue, as well as on various traditional languages from her home country in Mozambique. Through the Portuguese conquest as well as the French ones, techniques of assimilation have been an integral part of the oppression, an active de-valorization as well as erasure of the cultures that stood as pillars for the communities. Mother tongues constitute intangible spaces of resistance and education in which oppressed communities can build emancipatory spaces for future generations as well as possible opaque futures. Memórias de uma Língua de Cão welcomes all to embrace a mound of soil on which they can watch moving images: a group of women working the land, followed by images of Marilú performing with the ability and disability of her tongue and mouth to just swallow anything that is presented to her; the natural act of choking becomes a political act. The presence of the soil is a reminder for rootedness and groundedness, standing firm against the erasure of the knowledge that sustained the Echuwabo language and Bantu communities for multiple generations prior to the arrival of the foreign oppressors. The scent of the earth, the contours of the mound, the choking woman, the chicken clucks, all create a visceral experience in relation to the subject—i.e. the forcible repression of language. Marilú’s work brings us to a state of discomfort, it is triggering, it mirrors the loss of cultural signifiers that are important to reinvest into for effective acts of rematriation.