The Norwegian compulsory school curriculum emphasises the teaching of Sámi knowledge and perspectives across subjects, including music. Pupils should not only reflect on how Sámi musical traditions are maintained and renewed, they should also “perform and explore a repertoire of songs and dances from […] the Sámi music culture” (Norwegian Directorate for Education and Training, 2020, p. 6). For this to happen, music teachers need to be equipped with knowledge and skills that allow them to teach such repertoire during the course of their studies. Our experiences, however, indicate that music teacher students and graduates rarely integrate Sámi musical traditions as required in the curriculum, which might be due to lack of confidence or fear of doing wrong. To address this, we have launched an educational development and research project designed to strengthen the training students receive in Sámi music, history and culture. The aim is to enhance their confidence and competence, enabling them to integrate these elements into their teaching to the benefit of children in Norwegian compulsory and music schools.Like most countries with Indigenous peoples, Norway has a long history of enforced assimilation, only recently acknowledged in a national truth-and-reconciliation process and report (Dokument 19 (2022-2023)). This history, and its ongoing consequences, call for cultural humility, decolonising approaches and courage when aiming to craft a Sámi syllabus in music teacher education. Our project draws on music education scholarship addressing Indigenous perspectives and dilemmas (Dolloff, 2020; Hirvasvuopio, 2024; Kallio & Länsman, 2015), as well as experiences from participating in a national network dedicated to implementing Sámi knowledge in teacher education more broadly. In particular, implementing yoik—the core Sámi musical tradition—demands cultural sensitivity and a nuanced understanding of the norms and dilemmas associated with the tradition. Recognising these complexities, our project group comprises two Sámi musicians/educators, one Sámi music teacher educator and two majority population music teacher educators. Together, we develop course materials and teaching methods tailored to music teacher education, and implement Indigenous perspectives into music education courses.In this paper, we draw on empirical data, including surveys exploring students’ pre-existing knowledge of Sámi music and culture, focus group interviews conducted after students have completed courses in Sámi music and traditions, and reflection logs maintained by the project group. Combining empirical and theoretical insights with practical pedagogical development, we aim to contribute to a more comprehensive integration of Sámi knowledge and traditions in music teacher education.