This article, derived from an ongoing master’s research project, examines the Brazilian scenic choir and investigates collaborative practices that integrate voice, body, and movement, with particular emphasis on their contributions to youth choir development. According to Hentschke and Del Ben (2003), music education contributes both to the formation of cultural identities among children, adolescents, and young adults and to the enhancement of their interpersonal skills. At the Cultural Foundation of Umuarama, Paraná, Brazil, the only existing choral project was the Municipal Choir, primarily aimed at an adult audience. In response to limited youth participation, an experimental phase was launched in 2011 with the performance Glee Cover, inspired by the American television series that had gained significant popularity among young audiences. Participation exceeded expectations, underscoring the interest of the members in engaging with a scenic-musical experience that transcended the mere act of singing, enabling them to express authenticity and identity. In 2012, the ensemble was renamed Cia Musical Schubert, distinguishing itself as a socio-educational, non-profit initiative directed toward middle and high school students. This transition consolidated a distinct identity while broadening opportunities for artistic experimentation. Through a spontaneous and collaborative process, the conductor and choristers began creating original scripts, selecting repertoire contextualized within dramatic scenes, and designing stage sets, costumes, and staging directions. As Swanwick (1979) emphasizes, it is essential for individuals to engage in diverse experiences in order to fully appropriate music and its wide range of expressive possibilities. Over the course of nearly fifteen years, Cia Musical Schubert has consolidated its identity through a collaborative framework in which both conductor and choristers have actively contributed to repertoire selection, scriptwriting, choreography, and stage design. As observed by Puebla (2017), within different ensembles, teams were established with the purpose of sharing ideas and collectively shaping the scenic-musical structure. Within this context, the conductor assumes a pivotal role, fostering respect, trust, and a sense of ease, while also proposing activities designed to strengthen interpersonal bonds. In line with Koellreutter (1998), music education serves as a catalyst for the integral development of young people, nurturing self-confidence, creativity, and critical awareness. Beyond its artistic and pedagogical significance, the project functions as a vehicle for inclusion, socialization, and socio-emotional growth. Its institutionalization as a municipal public policy would ensure the continuity of its activities, thereby promoting the consolidation and strengthening of the artistic formation of young people in the city and surrounding region.Keywords: Scenic Choir. Music Education. Collaborative Practices.