This workshop is a hands-on presentation of a methodology of music education based on the siku, an Indigenous panflute from the high altitude plains between Peru, Bolivia and Argentina. This project was developed by Peruvian educators Yoselin Cano, Lilia Romero and Matias Recharte thanks to funding from the Agrigento Foundation. This methodology has a dual purpose: to approximate children to the siku through an “open” music pedagogy and to use the instrument as a pathway to introduce concepts and tools from conventional music education such as notation, and solfege. “Open music pedagogies” is a concept developed by Violeta Hemsy de Gainza which emphasizes creativity, autonomy, exploration, play, and critical thinking. It is a Latin American tradition that encourages educators to draw from the rich tradition of repertoires, instruments, techniques, and cosmologies of the various peoples that inhabit the continent. The siku is firmly rooted in the cosmology and philosophy of the Quechua and Aymara peoples and has a rich repertoire and history. The siku is also a symbol of Indigenous pride and has been adopted by many migrant communities, particularly in large urban centers like Lima. Communities that migrated from the highlands to the cities have maintained the siku as part of their cultural heritage and many young people have adopted the siku troupe as a “protest music” within political movements. After months of planning, experimenting and creating, and after a six-week workshop with a group of children from Villa el Salvador, the pedagogical team gained some important insights into the affordances, possibilities, and limitations of this approach. In this workshop we will share our experiences as well as some basic information about the siku, its techniques and repertoires, as well as the communal values of interdependence and reciprocity embedded in this tradition. We will share some of the “open” pedagogical tools and concepts we used to develop this methodology as well as some insights into the potential for methodological tools based on Indigenous and vernacular instruments and repertoire to decolonize music education practices.