“We Already Know and We Don't Yet Know” took place in  São Paulo, Brazil at the Hemispheric Institute of Performance and Politics VIII Encuentro. The performance was the outcome of a three day workshop using dance, performance and theater of the oppressed exercises. As of November 20, at least 265 transgender people were killed in 2012, with the most murders—126—occurring in Brazil (sarahgiovanniello 2013). The U.S.-based National Coalition of Anti-Violence Programs reported in 2011 that the murder rate of LGBTQH people was at its highest point ever, with transgender women and people of color experiencing the most violence. The gestures in the São Paulo performance physically expressed participants' ideas about, and memories of, safety. After three days of conversation about prison abolition and community based responses to violence, the prompt to create the gestures in the performance was simply the word “safety”.

In “We Already Know”, the bodies of the eight performers create a cut in a field of mediation created by a transnational art context by moving in a public space with a shared speed. The fields of mediation being engaged with in this context include digital video, photography, and networked media. As can be seen in the photo above, audience members, potentially international art festival attendees and potentially bystanders, are engaged in photographing the event with digital cameras. The video included here was taken by an audience member, Macarena Gomez-Barris, a scholar of contemporary art and decolonization. The video was recorded as a digital video shot with an iPhone and was later uploaded to social media. The existence of this photo demonstrates that the performers, by moving in this context, cut into multiple fields of mediation.