My thesis researches the concept of choreopolitics from an anticolonial and feminist perspective. The choreopolitical is reconceived in relation to the colonial archive and reimagined as a possible strategy to (re)organize and liberate bodies and histories. The arena to delve into this perspective follows an enquiry in relation to the art practices of four artists: Carolina Caycedo, Nora Chipaumire, Scarlet Yu and Sandra Monterroso. The different strategies and performative forces that each of them assembles through the context of their works of art and their politics, their modes of producing and sharing, as well as their standpoint regarding the archive, I argue, enable a horizon to dispute cultural hegemonic ecosystems. In an exercise in epistemic justice, I link the choreopolitical to two indigenous perspectives: Mayan and Aymara cosmologies, in order to widen our understanding of subjectivity and to reassess temporal and spatial perspectives. To know how to move politically it is necessary to question knowledge production itself and perceive multidimensionally the world as a corpus infinitum; it demands a radical reading and a reconfiguration of the sensuous. By reflecting on the constellation between the differences and intersections of the four artists' practices alongside with curatorial research, I argue that the field of performance curation can compose the plural and devise scenarios to rewrite histories and give the archive other conditions to resignify social and historical processes with justice.