This project examines how learning the Chinese traditional instrument hulusi (gourd flute) influences U.S. participants’ music self-efficacy and acceptance of foreign musical heritage. Framed within intercultural pedagogy and social-cognitive theory, the study positions the hulusi as a low-barrier, high-engagement tool for inclusive music making in Western settings.The hulusi, rooted in ethnic traditions of Yunnan (e.g., Dai communities) with a history often cited at ~2,000 years (Zhang, 2018), has become common in Chinese school music due to its approachable design, portable form, and soothing timbre. Prior scholarship notes beginner-friendly fingering and breathwork that can reduce anxiety and support respiratory control, benefiting children and older learners alike (Lau, 2008; Rees, 2000). Building on two pilot outreach studies—one at the Bell Museum (74 observers; 52 active participants) and another in a workplace setting (49/50 reporting increased interest and confidence after hands-on play)—this project tests whether hulusi learning can serve as a cultural bridge while strengthening learners’ musical agency.I employ a pretest-posttest mixed-methods design with U.S. participants who complete (a) interactive workshops (tone production, basic fingering, ostinato/duet play), (b) short recitals, and (c) micro-presentations on instrument history and repertoire. Measures include validated self-efficacy scales, acceptance/interest items for foreign music, brief difficulty ratings (breath control, fingering), and qualitative evidence (researcher observations, interviews, video). Analyses estimate (1) gains in self-efficacy and cultural acceptance from pre to post; (2) mediation of acceptance gains by self-efficacy; and (3) associations between perceived technical difficulty and outcomes. Preliminary results indicate meaningful increases in music self-efficacy and greater openness to Chinese musical culture after brief hulusi engagement. Qualitative accounts highlight the instrument’s calming sound, quick early success, and immediacy of ensemble participation. Mediation models suggest that self-efficacy partially explains acceptance gains, consistent with the hypothesis that feeling capable unlocks curiosity and sustained engagement with unfamiliar traditions. We argue that the hulusi functions as a globally accessible bridge: it invites rapid entry into music-making, supports inclusive classroom practices, and foregrounds cultural respect through embodied learning. Implications include practical pathways for curriculum integration (general music, world music units, community programs), design of short, scaffolded modules for beginners, and assessment templates for tracking affective and skill growth. More broadly, the findings illustrate how a traditional instrument can adapt to diverse sociocultural contexts while promoting unity, belonging, and intercultural dialogue in music education.