and decolonial praxis in schools. Grounded on the premise that education is a political act, the authors draw from creative forms and styles that problematize what decolonial scholars call the "colonial matrix of power" in shaping the Latino subaltern experience. Using music as a political and aesthetic expression against empire, the authors argue that the study of Latinx musical forms offers students possibilities to critique and delink from coloniality in their everyday lives. Committed to decoloniality as a political, epistemological, and spiritual project, the authors are intent on creating spaces that value transcultural understanding and solidarity between and across subaltern peoples of the Global North and the Global South, with particular attention to Chicanas and Chicanos and Latinas and Latinos in the United States and other peoples in the hemisphere. Musical forms provide ways to critically explore and engage in decolonial horizons that break silences, disrupt dominant narratives, and create a transformative consciousness among our students, particularly around issues of economic globalization, immigrant rights, cultural resistance, ethnic relations, poverty, and educational inequality in the Americas.