Endangered Human Movements1 Volume 4 – Danza y Frontera is an artistic research project rooted in ancient pre-Hispanic dance forms that survived the historical meeting with dances used by the Spanish Crown, (Casa Austria / Habsburg) to develop the conquest of Mexico during the 16th century. As Danzas de Conquista, (Conquest Dances), featuring reenactments of the battles in Europe between Moors and Christians, this dances were used to expand imperial difference2 already existing in Europe, toward the creation of colonial difference as it developed in the American continent under settler colonialism. The ‘Indians’ (native population) are assigned the role of the Moors (Arabic Muslims) and must perform their own defeat in a staged dancing combat with the Spaniards. To embody this difference through dance becomes a form of propaganda giving way to racialization and the reinforcement of the assumed inferiority of the natives in relation to the settlers. In this ‘new’ world, these dances survived till today with different names and under ever changing narratives. This multiply-handed-down dances are still practiced and actualized today such as the Danza de Matamoros or M20. This dance is practiced today by a group of young men from Matamoros, Tamaulipas (Mexico), at the border between Mexico and the United States in a context where extreme violence, narcotraffic, militarization, and cheap labor industries meet and interweave. If race is a mark carried on a body of a certain position in History (with a capital H), then to unsettle the hegemony of that History is central to the development of this work which looks at ‘traditional’ dance as a repertoire of inscriptions where many narrations intertwine, encoding a continuous movement of resistance. The topic of the artistic research is to trace the origin of colonial difference in dance practices as constituted by movements of exclusion and inclusion which imply liquid and invisible borders as well as material ones. Dance practices have been sites for colonial indoctrination but also for the creative reversal of colonial relations in performance and the continuity of ancestral experiences within colonial contexts, strengthening communities and creating common sense through shared experience.