This study explores the implementation and pedagogical implications of the new cultural and artistic education (ECA) curriculum within the Fédération Wallonie-Bruxelles (FW-B) education system.The French-speaking Belgian school context is marked by significant disparities in student outcomes across schools, largely influenced by social inequalities and a structurally segregated school system. Since 2015, the "Pact for an Excellence in Education" has aimed to address these issues through systemic reform, encompassing governance and curricular content from early childhood to the end of secondary education. Within this framework, ECA has been introduced into official school program to promote cultural democratisation, critical thinking, social cohesion, and creative expression.The ECA curriculum, officially implemented in 2020, focuses on three disciplinary fields: musical expression, visual arts, and French and bodily expression. It is structured around three core components—knowing, encountering, and practicing—each defined by specific learning outcomes and competencies, all aimed at fostering cultural democracy, participation, and diversity.Studies on music education in the Fédération Wallonie-Bruxelles are scarce. However, the few available articles and conference proceedings indicate that music education is often neglected. Teachers frequently cite a lack of training, low self-confidence, and practical constraints such as insufficient time, inadequate spaces, and limited access to instruments.Having long collaborated as a musician with teachers through culture-education partnerships, we hypothesise that the challenges encountered could be alleviated by implementing didactic situations that promote practices in which the professional gestures of classically trained musicians are replaced by those of “musicking” or “community music making.”To examine these questions, we conducted a study exploring how primary school teachers interpret and implement the curriculum in their current practice. Ten teachers were observed and interviewed. Although all expressed a strong commitment to musical activities and to the principles of cultural democracy, the observations and interviews revealed that the creative learning approaches envisioned by the new curriculum were challenging to enact in the classroom.This inspired us to create a didactic engineering model that supports shared, creative musical practices in the classroom, where knowledge is not transmitted but shared as a common experience between teachers and pupils which could contribute to the broader goals of well-being at school as well as creative expression.