This paper positions community music as a site of prefigurative politics, drawing on findings from a Critical Participatory Action Research (Fine and Torre, 2021) PhD study conducted across varied global contexts. It proposes that community music might be understood as a decentralised, counter-hegemonic movement glimpsed as a diverse yet implicitly connected assemblage of situated practices that embody alternative social imaginaries. While community music is often conceived as localised and contingent, this paper recovers its broader political significance by tracing how musical moments may be re-understood as expressions of a shared prefigurative political logic.Building on the theoretical framework developed in the author's doctoral research, the paper highlights prefigurative politics as both an analytic and methodological tool. Prefiguration is defined as the enactment of alternative futures in the present, emphasising embodied, generative, and relational modes of political action. Through this lens, community music is framed not merely an expressive or pedagogical activity, but as a form of onto-epistemological politics (Monticelli, 2022) that configures new social relations, generates embodied forms of knowledge, and challenges dominant logics of individualism, hierarchy, and commodification.This prefigurative reading is further situated within the concept of counter-hegemonic globalisation (Santos, 2007; 2008), understood here not as a top-down alternative to neoliberal hegemony, but as a bottom-up, pluralistic tapestry of transformative practices. Through this lens, community music becomes visible as part of a wider epistemic and political project that resists the coloniality of knowledge and power by rehearsing alternative futures in the now.Drawing on co-produced data from the CPAR study, the paper highlights how a community music movement becomes visible through forms of collective action that resist extractivist paradigms and neoliberal logics of aesthetics and relationality across diverse geographies. These practices are not solely reflective of social realities, but actively participate in making them otherwise. In so doing, the study contributes to an emerging recovery of community music as a global political movement, bridging the temporal and spatial fragments of practice into a coherent, though non-totalising, horizon of possibility.