This project explores how the sound and listening pedagogies of Canadian composer-educator R. Murray Schafer have been reimagined and critically updated by Latin American educators—particularly in Brazil—as tools for anti-colonial and liberatory music education. While Schafer’s pedagogical influence has largely been ignored in Canadian institutions (Friesen, 2024), his educational work was widely adopted in Brazil, most notably through the national distribution to schools of 140,000 copies of Marisa Fonterada’s translation of his Sound Education (1992). This research investigates how educators connected to the Foro Latinoamericano de Educación Musical (FLADEM) have been influenced by and adapted these pedagogical practices to centre students' lived sonic experiences, emotional lives, and cultural identities—resisting Eurocentric curricula that exclude or reject non-Western ways of knowing and being.As a “continual process of making current arrangements problematic” (Cochran-Smith & Lytle, 2009, p. 121), critical practitioner research—a methodology that positions students and teachers at the centre of transforming schooling—guides this study. This collaborative inquiry uses sonic ethnographic methods (Friesen, 2024) to analyze and present both audio and text from interviews with teachers, analytic author discussions, school visits, soundscape recordings, and analytic memos. The project reveals how embodied pedagogical moments—of dragons in children’s bellies, birds interrupting conversations, and singing to trees—can disrupt the myth of music as a fixed, Western form. Findings show that pedagogical moments of listening and being listened to create openings for deeper attunement, affective presence, and radical collaborative curriculum-making (Dau, 2024).We argue that listening—when understood as a political, an ethical, and an embodied act—can become liberatory anti-colonial music education. Following the work of Paulo Freire (1987, 2010), bell hooks (2003), Deborah Wong (2014), Pauline Oliveros (2005, 2013), Gloria Ladson-Billings (2021), and Rubén Gaztambide-Fernández (2013, 2020), this study positions critical sound and listening pedagogies as a practice of cultural production, where the sonic lives of students are recognized as legitimate, expressive, and central to their formation as learners and creators. By building bridges across borders, traditions, and epistemologies, these findings speak directly to the ISME 2026 theme, suggesting that reimagining music education through sound and listening can unify diverse voices and reclaim erased knowledge in transformative ways.Please note: Two of the three authors are currently registering and submitting to present. We are in the process of securing funding to enable all three authors to attend and present in Montreal.