While the matter of decolonizing academia has gained mainstream attention in various anthropological debates around the world, dominant anthropologies continue to perpetuate coloniality. Assumptions of epistemic coloniality are embedded in mainstream anthropological practices such academic reading/writing, and uses of language. Despite the arguments of decolonial approaches, such as the Modernity/Coloniality/Decoloniality project, that coloniality is fundamentally an epistemic project, mainstream anthropologies remain dominated by a universalizing Western understanding of knowledge. In the historical colonial encounter between the ‘West’ and others, different ways of knowing were, and continue to be, appropriated and attacked, aiming to erase them. Such epistemicide is typically done by defining non-European knowledge traditions and practices as ‘culture’, ‘tradition’ or ‘belief’, in other words as forms of ‘non-knowledge’, which then become objects of study for anthropologists. Importantly, epistemic coloniality also produces forms of internal epistemicide, where ways of knowing that originate geographically in ‘Europe’ are also delegitimized. Over the past 500 years, any way of knowing that didn’t fit the universalizing, logocentric, androcentric epistemology of coloniality was also silenced. Therefore, I argue that in order to work towards decolonizing anthropology, anthropologists need to work towards a pluriversal anthropology. This would be an open discipline, in which different ways of knowing are acknowledged, in respectful and appropriate ways, as fully valid scholarly means for enquiry into the conditions of being human. In this workshop, first we report on the work of collaborators from Hawaii and Brazil and their approaches to shifting anthropological epistemologies. Second, Gatt invites participants to engage in practical tasks she has devised aimed at loosening the assumptions of epistemic coloniality and thus enabling different ways of knowing into the heart of anthropological practice. These tasks draw on her training in Laboratory theatre, which is a transnational non-hegemonic improvisational way of knowing.