An Indigenous person with dark brown skin and long, straight black hair that she keeps tied in a high ponytail. Tall and lean, with a dancer's body, and scars from brawls on her stomach, face, and arms. 

Portland has a long, storied history of both art and politics, and the intertwining of those is well studied. In particular, the after-hours dance scene is filled with anarchists, protest leaders, and social media scene stars. Lindy hop and swing dance in general lends itself well to this, and perhaps it's the long history of resistance that swing dancers have always participated in that contributed to its prevalence in Portland. 

Beata is one of these dancers. A displaced Indigenous person placed in Portland, Beata is charismatic, convincing, intimidating and unwilling to move in the face of perceived injustice. She was born into a family of dancers and even after her parents were no longer in the picture, poured her whole heart into the scene. Her penchant for punching fascists plus her natural beauty and force of personality propelled her to the front of the scene, making her extremely influential within the swing dance community. In life she was an anti-establishment lindy hop queen – and in undeath, she continues to be this. Perhaps she grasps desperately onto this performance because it keeps her human. Perhaps it just affords her an extra opportunity to use these newfound abilities. 

It was this influence, this dedication to righteous rebellion, that made Beata a perfect candidate to Shireen Kaldi, who turned Beata with the intent of mentoring her in the ways of clan Brujah. Unfortunately, rather than gain an admirable apprentice, Shireen sired a violent brawler. It might have been the awakening of a latent more violent nature, but Beata sure gets into more fights than she used to…. Which has landed her in a “probationary” period of sorts.