In this paper, I offer an autoethnographic look at the Moroccan era ‘now and then’ through my grandmother’s autoethnography; a Moroccan woman who was kept out of the Moroccan history. Her life stories, struggles, and resistance haven’t been heard or recorded to be considered as a valid knowledge. Thus, this paper will be a written repertoire for my grandmother and a voice that will record and transmit her story of resistance and survival. To fully understand history, in this case, women resistance against foreign invasion, knowledge should be based on a local perspective through hearing and listening to people with open ears and hearts. Methodological approach Women of color, such as Gloria Anzaldúa and Cherríe Moraga (1983), ask people of color to examine the sources of knowledge and transform the process of theorizing. They challenge the traditional interpretations of knowledge and encourage people of color to shift the research lens to one that recognizes their own experiences. Hence, I ground my methodological approach in the realm of theory of the flesh, one where “the physical realities of our lives-our skin color, the land or concrete we grew up on, our sexual longings-all fuse to create a politic born out of necessity.” (Moraga & Anzaldua,1983, p. 23) As we embark in new ways of understanding communication in postcolonial settings, we must embrace the project of decolonizing the institutionalized and hegemonic theoretical frameworks. In drawing on theories of the flesh, I turn to a performative autoethnography approach; performative autoethnography, as conceptualized by Spry (2011), is a critical method that privileges embodied experiences in connection with a larger context for the purpose of social justice. Or yet, here we “privilege the body as a site of knowing.” (Conquergood as cited in Spry, p.31) Knowledge is created through the concept of a textualized body where the self, the text, and the performance work together to create meaning. Drawing on Spry’s argument that performative autoethnography can be used as a methodology to disrupt normative performances of race, class, gender, nationality, and sexuality, I use embodied performances to call into question the ways bodies of Moroccan women have been treated in the colonial and post-colonial environment. Through personal narratives and performative writing of my grandmother, I textualize our bodies as Moroccan women and create “alternative ways of being through performance.” (p.29)