Theoretical Background Indigenous scholars have long critiqued the colonial nature of systems of public education and advocated for Indigenizing pedagogies (Ex. Battiste, 2013; Simpson, 2014; Smith, 2023). Kirkness and Barnhardt (2001), for example, outline four key principles for an Indigenizing education: respect for Indigenous cultures, languages, and ways of knowing; relevance of educational experiences; reciprocity whereby those teaching also learn from Indigenous students in real-world contexts; and responsibility for acknowledging and teaching about power dynamics that shape Indigenous students’ experiences.Aims This paper presentation reports on an ongoing, relational community-engaged research process (Smith, 2023) involving two researchers in different music disciplines along with the leadership and staff at a reserve school in Turtle Island. The purpose of our co-constructed inquiry is to: (1) challenge the hegemony of Western pedagogies and approaches in music education/teacher professional learning and to develop a culturally sustaining music education; and (2) explore the intersections of music education and language revitalization, responding to the priorities of the community.MethodsKirkness and Barnhardt’s (2001) four elements have served as theoretical framing and guiding principles for our inquiry along with the work of Linda Tuhiwai Smith (2023), Margaret Kovach (2014, 2021) and Shawn Wilson (2008). As invited collaborators we have sought to listen and learn, worked to understand what would be relevant, and collaboratively designed learning activities that acknowledge the impact of coloniality and support language revitalization. Data for this ongoing participatory inquiry include minutes from monthly research team meetings over a two-year period, field notes and reflections on our teaching, as well as notes from conversations with a community Elder.Results, Conclusions, ImplicationsOur team has identified and piloted three promising approaches for a culturally sustaining music pedagogy that supports language revitalization: 1. centering the work and worldview of Ininiwuk authors and musicians; 2. music creation as a way to move away from a colonizing Western music pedagogy; and 3. creating and adapting songs in order to uphold and celebrate community identity rather than teaching Euro-derived children’s songs. In the next phase of our work together, we will co-design a teacher professional learning structure to respond to the school’s desire for homeroom teachers to take up this work, collaborate on the creation of Ininiwuk songs for teaching music and language, and explore land-based approaches. We have learned much through our ongoing relationships with our collaborators including the ethic of care that is part of an Ininiwuk worldview.