This article focuses on "Atarraya," a participatory performance piece by Carolina Caycedo in collaboration with a group of social organisations affected by hydroelectric and mining megaprojects in Colombia. It argues that oral history-informed art practices offer an alternative space to communicate painful experiences and demand better futures, engaging broader and more diverse audiences. By analyzing the performative elements of "Atarraya," such as the inclusion of human and non-human voices, the article shows how in the face of the transitional justice system in Colombia, it is necessary to understand "listening" as a critical component of oral history-informed performance.