"Frontera I Border – A Living Monument" by the Mexican-Chilean choreographer Amanda Piña is rooted in a dance that originated from the neighborhood of El Ejido Veinte in Matamoros, Tamaulipas, on the border between Mexico and the United States. This dance is performed by young individuals at risk in a highly violent environment, a setting rife with drug trafficking, militarization, and an industry built on cheap labor. The dance that inspired Amanda Piña was initially created by the Spanish to depict the Christian victory over the Moors. During Latin America's colonization, it was used as a tool for racist propaganda. The distinction between white and non-white individuals was highlighted, with indigenous people forced to represent the "Moor" while the Christian symbolized Spain. Over time, the dance evolved, becoming a symbol of resistance against both colonial and, later, neoliberal forces. By delving into a choreography where hip-hop culture, colonial tales, native practices, and mysticism converge, Amanda Piña underscores that the border is not just a geographical location but is also ingrained in the bodies, influencing their racialization. As such, these bodies carry these borders within them, some more profoundly than others.