This research project focuses on the hybrid teacher-performer (CIOTTI, 2014), and intends to map teaching practices that dialogue with Art/Education from the perspective of Decolonial Pedagogies. To do so, I will investigate theater teaching practices in which performance is inserted in a decolonial perspective. I will try the cartography method to follow processes (ROLNIK, 2006; KASTRUP, 2009) identifying the principles of performance in the referred practices and pointing out their contributions to the teaching of Art. In this sense, the decolonial pedagogies of Catherine Walsh (2005) and Paulo Freire (1991), the epistemologies of the South (SANTOS, 2010), the notions of archive and repertoire (TAYLOR, 2013) and the knowledge of experience are used as theoretical references. (LARROSA, 2014). To investigate the field of performance, authors such as Renato Cohen (2002), Valentin Torrens from the notion of performance pedagogy (2007), Diana Taylor and her investigation of archived knowledge in dialogue with incorporated knowledge (2013), and Fred Nascimento (2018) with his performative and pedagogical experiences together with Grupo Totem. The research has a qualitative character and is in the post-critical paradigm, having as research focus the teaching experiences of the researcher herself, who becomes the subject of the research, in order to contribute to the visibility of decolonial epistemologies for teaching of the Arts.