In this presentation, some of the co-editors and authors of Decolonising and Indigenising Music Education: First Cultural Responsivity in Research and Practice (2026), will provide an overview of this publication's methods, aims, development and main findings. Envisioned as the second in a book series dedicated to investigating issues in decolonizing and indigenizing music education from a global perspective, this co-authored volume centres Indigenous researchers’ voices from around the world. Authors from Aotearoa/New Zealand, Australia, Canada, Mozambique, South Africa, and Sweden contribute to debates about current colonising music education research and practices, offering alternative decolonising approaches that support music education imbued with Indigenous perspectives. Its deliberate global reach seeks to provide a breadth of geopolitical concerns, including the Global South, in both exploitative and settler colonial contexts. The result is a collection of scholarship that presents music in education as social and political action, pushing beyond the notion of Western aesthetics and world music as curriculum. The move to foreground Indigenous scholarship demonstrates how non-Western ontologies produce more diverse musical practices. Authors interrogate, scrutinize, and theorize research methodologies, curricula, and practices related to culturally responsive learning and teaching of music. This collection of Indigenous voices and allies highlights the imperative that indigenisation must be Indigenous led. Therefore, this second volume is a deliberately pivotal text in the series that provides a vision for how the interface of Indigenous and non-Indigenous knowledges and ways of being can shift the purposes and practices of music education. In this way, the book promotes the reconceptualisation of how music education is researched and practiced with an emphasis on the application of decolonial ways of being. We will discuss themes such as relationality, partnerships, living culture and positionality of self/place in relation to specific national and regional contexts. In this presentation, we will review five of the volume's chapters, also looking ahead to future and ongoing volumes in the book series. Chapter 1 - He Whiringa Toi: A weaving of Indigenous and non-Indigenous worldviews, pedagogies, and cultural practices In this Introductory chapter, co-authors present the concepts of He whiringa toi and cultural responsivity. He Whiringa Toi gives precedence to the idea that this volume seeks to weave together the collective re-binding of Indigenous education initiatives related to cultural practices between Indigenous and non-Indigenous peoples through culturally responsive teaching and learning. We summarize how scholars have defined culturally responsive teaching and learning and other related terms in several contexts. Chapter 2 - A Proto-Method for Teaching and Performing Indigenous Musics in the Vocal Conservatory This chapter examines the pursuit of an anti-oppressive, decolonised learning environment within university conservatories in Aotearoa New Zealand. It highlights how Indigenous ways of knowing enrich European performing arts traditions and underscores the necessity of Indigenising the vocal conservatory. The discussion addresses challenges in the embodiment of Indigenous performing arts by non-Indigenous performers, outlining the competencies required of non-Indigenous instructors. The chapter concludes by proposing a proto-method for creating culturally safe spaces to learn Indigenous musics, easing the disjuncture between content and teaching method. Chapter 3 - Towards an Ethical Space of Engagement: Challenges and Promises for Music Educators in Decolonizing Their Practice This chapter explores orientations that facilitate and impede decolonizing initiatives undertaken by music educators. Based on research with eight Canadian music educators, I explore challenges created by an additive multiculturalism including (1) the need for spectacle, (2) a framing of teaching music as teaching pieces, and (3) an extractivist worldview. I argue that a comparative musics model and a conception of music as human practice have promise for decolonizing practice, although the temptation for non-Indigenous teachers to engage in what Tuck and Yang call ‘settler moves to innocence’ cannot be underestimated.  Chapter 5 - Dreaming an Aboriginal language song for school use: Singing Kabi Kabi Authors in this chapter emphasize the need to be inclusive of Indigenous practice makers who work with theirs and others' communities. It is imperative to lend a place and make space for those who are more regularly considered second or third authors, to be invited to be lead authors, especially and critically because they are discussing and sharing the collective thoughts of their own community and lived experiences. Afterword - Looking forward The DIME network has been instrumental in fostering regional research and development initiatives supporting Indigenous music in music education across the globe. DIME-related projects are now underway in North America, Oceania, East Africa, and the Nordic region. This book series seeks in part to serve as a channel to share knowledge and disseminate outcomes from these and other DIME initiatives. In this presentation, a summary of ongoing DIME-related research and development projects discussed in this volume will be briefly surveyed. Ideas for future publications and collaborations will be examined.