The tango music of Argentina offers a unique pathway into ways decoloniality may be manifested and explored within ensembles. This presentation engages with decolonial music education scholarship from three Argentine scholars Holguin Tovar (2015, 2017), Schifres (2015, 2017), and Gonnet (2015, 2017) as it explores how and in what ways the Escuela Orlando Goñi, directed by Julian Peralta, in Buenos Aires, exemplifies what decolonial praxis in action can look like. The case study Escuela Orlando Goñi can serve as a Freireian model for a ‘pedagogy of emancipation’ (Schmidt, 2005, p. 2) creating flexible space for multiple ensemble sizes and various skill sets, with applications to both formal and informal learning environments. Such an approach responds to the call for more inclusive music education, and larger cultural representation in institutions, whose impact deepens connection to community and the empowerment of music students as actors in society. Such an approach supports the development of community and shared responsibility, and the importance of personal agency leading to a different way of being in the world, critically aligned with the theme of building bridges supporting the World Conference.This presentation identifies and will explore four concrete examples of decolonial praxis employed by this school: 1) multicentric knowledge - where cultural knowledge is viewed as non-hierarchical and as ‘collective patrimony’ in a free-flowing exchange between teachers and students (Gonnet, 2017, p. 115) with a sense of solidarity for common values and aims, 2) a 'curriculum of becoming' (Stark, 2023, p. 52) where teachers adapt lessons to what students need which includes both musical and extra-musical skills, emotional expression and relevant repertoire (Holguin Tovar, 2017), 3) notation reconceptualization where literacy is not a requirement and can be taught along the way (Holguin Tovar & Schifres, 2015), and lastly, 4) participation as highest value, meaning the community comes above all else and being able to play only three notes is enough to join.The presentation is an invitation to understand how the Orlando Goñi school began as a movement, reimagining its social function while creating its own canons, and how music education can better use place-based educational philosophies and practices to facilitate ‘co-constructed and shared experiences’ (Schifres & Gonnet, 2015, p. 65). It invites a re-thinking of the social value and power of ensembles, or an ‘aesthetics of turbulence’ (Glissant, 1997, p. 154) breaking apart colonial thinking and imagining new educational musical futures (Taylor 2013).