Anthropocentrism involves humans centering themselves as the dominant species, entitled to access all other bodies (Braidotti, 2013). These other bodies can include other humans when exclusionary practices deem certain humans as “lesser” than others, thus “othering” these humans by deeming them “sub”. Creative education in the 21st century features the “myopic centering of the human” (Roussell et al., 2022, p. 374). For example, definitions of musical talent are highly exclusionary (Lubet, 2009), as they rest on the belief that musical talent is limited to an exceptional group of humans. Music performance anxiety may also be viewed as a phenomenon rooted in anthropocentric arrogance, as it is connected to negative affect, self-consciousness (Lecuona et al., 2023), “high ego investment” (Kenny 2009, p. 433), and self-oriented and socially prescribed perfectionism (Mor et al., 1995). Posthumanist authors suggest that decentering the human is necessary for humans to move forward from anthropocentric practices in music education, but it is not clear what decentering the human entails, how it might necessarily lead to more affirmative relationships with other human and nonhuman bodies. Furthermore, while posthumanist authors acknowledge the perils of Eurocentric thought, posthumanism remains rooted in Western thought (Dickman, 2019). In this paper, then, I draw on the Daoist philosophy of Laozi and Zhuangzi who privileged an orientation towards nature, recognizing humans as part of the larger system of the universe (Fung, 2018). In so doing, I hope to see where there could be complementary lines of flight and tensions between posthumanism and Daoism that could be a collective resource in seeking more affirmative and performative ways of music teaching and learning. In this paper, I focus on the notions of 无 wu (nothingness) and 虚xu (emptiness), and the void as a liminal space of lively potentialities. For example, a practice of 无伪 wu wei refers to non-egoistic actions that are aligned and engaged with the 道dao (Fung, 2018; Tan, 2016). Since all things are part of a whole with the 道dao, doing so decenters the human to recognize humans’ intra-active entanglement with other human and nonhuman bodies. Decentering the human also reveals a void where the human used to be, which can be understood as disclosive (Heidegger, 1929) and “teeming with the full set of possibilities of what may come to be.” (Barad, 2007, p. 354). In decentering the human, instrumental and vocal teaching could thus embrace a spirit of nothingness to trouble anthropocentric constructs of musical talent and address music performance anxiety in music education.