Coco de roda is a cultural and musical expression from the Brazilian Northeast whose origins are rooted in afro-indigenous heritage (Monte 2023), with the intention of resisting colonial domination processes (Silva & Souza 2024). As an afro-diasporic musical expression, coco de roda, in the context of music education, constitutes a powerful antiracist tool insofar as it reflects political and cultural resistance within black communities in Brazil (Santos & Barbosa 2023). It is also a practice grounded in decoloniality, as it follows pedagogical and musical paths that diverge from eurocentric ones, drawing on aspects of orality, ancestry, and afro-brazilian sonorities.Queiroz (2023; 2020) points that decolonial practices cannot be reduced solely to repertoire but must also consider and include the logics and ways of teaching and learning music from informal spaces, as is the case with coco de roda. In this way, it enables an “opening to different epistemologies, cosmologies, and different possibilities for the transmission and production of knowledge” (Gomes 2018, 98).As performed, singing, dancing, and instrumental performance are inseparable elements. Thus, the workshop “Brazilian coco de roda for music educators: tools for an antiracist and decolonial music education” will cover the rhythmic aspects played on the pandeiro (the main musical instrument of this Brazilian musical genre) and dance, and will present some songs performed by the main singers and Brazilian coco de roda groups that can be used in music classes.In addition to strengthening decolonial practices, the inclusion of Brazilian coco de roda in formal music education contexts is a fertile proposal for the so-called World Music Pedagogy (WMP), since “it considers pedagogical componentes that contribute to learning musical cultures through listening, including participatory musicking, performance, creative composition and improvisation, and the integration of cultural understandings relevants to the musical selection” (Campbell 2018, 108). As Campbell suggests, bringing this important Brazilian musical genre and the culture it represents points to the role of music within its respective cultural groups, its functioning, and its reasons (Campbell 2018, 109).For Brazilian music education, and more broadly for Latin American music education, disseminating coco de roda is, just as in more localized spaces such as the classroom, a way to amplify the brazilian afro-indigenous voices that form and have formed Brazilian society, culture, and popular music traditions[1].[1] Originally written in Portuguese and translated by AI.