Repertório names a trilogy of choreographic practices that invest in the idea of ​​dance as a self-defense training. Can movement activate the memory of subordinate bodies that were buried under hegemonic codes? How to claim another danced temporality, less contaminated by the shards of the “dance history”, to produce and archive images of liberation that are not circumscribed in modern logic? Choreography appears at the beginning of modernity, as a technology that creates a disciplined body that moves from the regimes of writing. At that moment, the disposition to move appears as an effective emblem. Modernity is inscribed in the fantasies of coloniality and in the arsenal of rationality, promoting effects of significance such as cultural difference and racial difference. The problem of modernity / coloniality has not yet been solved, so how to choreograph after years of repudiation of spatiality? In this sense, the movements of work have led to a thought that is aligned with the movements of insurrection, rebellion and indiscipline. There are schemes, techniques and forms that only a corporeality that inhabits its own fragility can develop. Who had to learn to read the choreographies of violence and study the ways to intervene in them. How to choreograph about the remains of this world? I propose to destroy the anxiety of archiving the performances of this world and I propose a repertoire as a recommendation for dances of the future.