The 2019 social mobilization served as a catalyst event that revealed issues within the Chilean democracy. These sociopolitical challenges, such as a lack of a sense of communitarian goals and a weak social fabric, are also affecting Chilean classrooms. When social conflicts are discussed in the classroom teachers report challenges in implementing these recommendations, such as students' emotional reactions and social pressure from parents and school administrators, and they lack sufficient tools to address it. Classroom problems become more difficult when teachers, following national curricular guidelines, attempt to explore topics like racism, migration, and the legacy of Chile's dictatorship. The field of music education aims to address this connection between music-making and civic compromise through artistic citizenship. This perspective has been critiqued in music education because it represents a discourse of privilege that recreates violence against vulnerable people idealizing the effects that music can effectively afford, and it is not specific to address what kind of citizenship is referring to and through what learning methodologies.In the field of Citizenship education being an active citizen implies more than the action of voting, and student-centered active methodologies are the main recommendation to achieve this goal. Since music-making is a popular strategy as a citizen-building exercise within Chilean social mobilization, it is easy to assume that it is possible to enact democratic values just by playing music. This assumption constitutes a gap in projects following this conceptual approach to artistic citizenship. Consequently, there is a need for a thoughtful teaching methodology to engage in the pedagogic potential of music to address social issues and incorporate the emotional learning aspects of citizenship education in classrooms. A decolonial approach within the field of Citizenship education advocates the considerations of cognitive and affective dimensions of learning by supporting non-traditional ways of knowledge creation using art-based teaching methodologies. In this paper I report the methodological design to implement a multi-case ethnographic study aiming to explore three different ways to intersect music and citizenship education in Chilean classrooms. First, the implementation of a songbook project based-learning, co-designed with social-science teachers. Second, the design of teaching guidelines and educational resources the cueca -music-dance genre- as a resisting Chilean memory. Third, an art-based intervention with activist music groups and social science teachers to codesign classroom activities. I seek to afford a space for diversity, plurality, and uncertainty to have challenging conversations about the issues of our current democratic systems.