This study investigates the incidence of creative musical practices on intercultural communication within culturally diverse communities. The research was implemented through a creative practices workshop developed in Asunción, Paraguay, with three distinct groups: art education academics/students, conservatory musicians, and members of a National Police military band.Methodologically, a collaborative approach based on Critical Arts-Based Research (ABR) (Barone & Eisner, 2012; Bagley & Castro-Salazar, 2012) was adopted, focusing on narrative co-construction. The technique involved transforming participants' personal musical experiences into collective narratives, which were then converted into sonic narratives for group appreciation.The methodology explicitly adheres to the principle of process over product (Cremades-Andreu, 2022). This stance posits that the primary value of the intervention lies in the experience of creation and collaboration, and not in the final aesthetic quality of the outcome. Thus, the main objective was the transformative experience, where the way participants listened, negotiated, and co-created the narrative was the key element for fostering intercultural communication.The proposal assumes a relational conception of culture (Appadurai, 1996; Bourdieu, 2012). Analytically, a multidimensional model for interpreting cultural processes (XXX, 2022) was applied, integrating narrative elements related to territories, practices, and historical contexts. Within this framework, intercultural communication was addressed through creative practices in Community Music (De Bruin, Burnard, & Davies, 2018; Burnard et al., 2018, Burnard, 2013) to enhance communicative competence (Koch, 2009; Moosmüller, 2020).Results confirm that creative strategies are viable for intercultural dialogue, showing that individual musical experience is a universally mobilizing element for collective creation. However, the study identifies a critical finding: the complete absence of aesthetic or worldview elements linked to the Guaraní culture—a foundational cultural base in Paraguay—in the emerging sonic narratives, which exclusively exhibited characteristics of the Western tradition. This persistent invisibility mandates questioning ABR's capacity to activate non-Western epistemologies and underscores the necessity of addressing Critical Interculturality and Decoloniality (Carfoot, 2016; Silva Queiroz, 2020, 2017) to confront the mechanisms of cultural silencing. The work concludes that Community Music offers crucial pedagogical potential for citizenship, provided it actively engages with underlying power dynamics.