This paper presents findings from a four-week qualitative research project at The Gambia Academy in West Africa. Founded by musician Sona Jobarteh of the Mande people, the academy aims to decolonize education in West Africa by integrating traditional West African artistic aesthetics like dance, music, and art into learning activities. The study is grounded in post-colonial theory, which critiques Western educational frameworks that marginalize local cultural practices (Bender, 1991). It explores decolonization educational theory to support Sona's mission of challenging Western educational practices that disempower young Africans. She prioritizes indigenous ways of knowing, eliminating Western-centric pedagogies that silence African musical traditions (Roy, 2021). The research explores the intersection of traditional and popular music genres as a way of aiding in the retention of traditional ways of knowing within contemporary culture and educational contexts.To achieve this aim, I immersed myself in a qualitative research approach using participant observation, interviews with students and educators, and analysis of curricular materials. Initially intending to observe daily schedules across core subjects, my arrival coincided with visiting teachers from the UK, leading to a week dedicated to their project goals. This unexpected shift allowed me to participate and observe diverse activities, including songwriting, poetry, literacy, and dance, thus gaining insights into the academy’s teaching methods. The remaining weeks permitted observations of the regular curriculum. I was intentional on taking lessons on the balafon and the Djembe, while only observing Dance, Art, Language, Math classes.The results indicate that The Gambia Academy successfully integrates traditional music into its curriculum, ensuring that historical practices remain relevant within a contemporary educational framework. Students acknowledged that they were being trained as cultural bears of knowledge, attributing their growth to the culturally rich curriculum. By recognizing traditional music as a form of popular music, the academy fosters an environment where students can meaningfully engage with their heritage in popular music contexts.In conclusion, this research highlights the critical need to decolonize music education. By prioritizing indigenous knowledge and practices, institutions such as The Gambia Academy play a vital role in cultural preservation and resilience. The findings advocate for the implementation of curricula and pedagogy that emphasize the decolonization of music education, which is essential for fostering a more equitable and representative educational landscape. This case study serves as a model for future initiatives aimed at revitalizing traditional musical epistemologies within educational systems.