In this article, we analyse experiences in which Brazilian and Kenyan artivists (artists who are activists) used animation to challenge colonial hierarchies that devalue Global Southern knowledges, histories, and stories. We draw from ethnographic observations, in-depth interviews, and artivists’ experiences in two animation workshops: a) Portrait of Marielle, produced with Kenyan artivists in Nairobi; b) Homage to Wangarĩ Maathai, produced with Brazilian artivists in Salvador. We ask: how can artivist creative practices be used as tools for global movement building, contesting the colonial legacy of fragmented relationships between Global South peoples? We evoke decolonial and standpoint intersectional feminist perspectives to propose an understanding of artivism that considers the specificities of Global South contexts, connecting it to two axes: a) establishing dialogical spaces and b) mobilising memories and histories. Our understanding of South-to-South artivist dialogues results from the ways in which notions of pluriversality (Gudynas, 2011), incompleteness (Nyamnjoh, 2017) and humility (Suzina and Tufte, 2020), which stem from Latin American and African scholarship are intertwined. When marginalised groups exchange situated knowledges (Haraway, 2004) and express themselves through artivism from intersectional standpoints (Harding, 2004) or “lugares de fala” (Ribeiro, 2017), this can have a binding nature, creating transformative connections between Global South peoples.