This study seeks to critically investigate how Ecuador’s National Curriculum for Cultural and Artistic Education (2016) constructs and enacts ideas of interculturality, inclusion, and diversity. I propose an examination of how national curriculum design and teacher practice can serve either to reinforce or to transform colonial legacies in music education. Through this project, I seek to highlight how educators in Ecuador navigate tensions between policy discourse and lived realities, thereby contributing to broader global conversations about unity, justice, and pluralism in music education.For this study, I will integrate different theoretical frameworks, such as Freire’s critical pedagogy (1970/2000), decolonial theory (Mignolo, 2011; Smith, 2008; Tuck, 2012; Walsh, 2009), and intercultural education (Westerlund & Gaunt, 2021). Freire’s approach to education as a practice of freedom guides the exploration of concepts of teacher agency and student voice. Decolonial theories highlight how epistemic hierarchies persist in national curricula. Lastly, intercultural lenses emphasize relationality and dialogue across different cultures could become a means of building bridges between communities and epistemologies.For this study, I have employed a multi-layered qualitative design, which combines critical discourse analysis of curriculum documents along with semi-structured interviews with a group Ecuadorian music teachers from private and public schools in order to offer a comparison between different contexts. Ball, Maguire, and Braun’s (2012) policy enactment framework provides a lens for examining how teachers interpret, negotiate, and resist curricular mandates in local contexts. Data will be analyzed thematically to identify both structural constraints and innovative practices of resistance, inclusion, and creativity.Preliminary analysis suggests that while the curriculum explicitly references interculturality, it continues to privilege Western art music while keeping Indigenous and Afro-Ecuadorian traditions largely symbolic. Ultimately, through this study, I expects to discuss how educators creatively reinterpret these curricular frameworks to foster belonging, agency, and epistemic plurality in their classrooms. By connecting curriculum discourse and teacher praxis, this work aims to show how anti-colonial and intercultural frameworks can build bridges across epistemologies and pedagogical traditions, offering pathways toward unity, justice, and truly pluralistic music education.