Indigenous knowledge has been marginalized and excluded through a system based on a worldview that perpetuates colonialism. The actions and attitudes of nation-states and academic bodies deem, recognize, and value certain ways of knowing as "superior," which marginalizes knowledge from Indigenous cultures. Considering an educational philosophy that puts the knowledge and worldviews of local cultures at its heart is an urgent step towards changing this situation. In this text, I discuss the implementation of Styres's (2017) Land-centred philosophical proposal in music education. This approach is built on the understanding that Indigenous knowledge has the same value as knowledge that comes from hegemonic Western centres. This perspective proposes to disrupt the role of Eurocentrism that accepts or rejects different ways of knowing and (re)centers Indigenous knowledge and worldviews.

La música como forma de expresión y comunicación ha sido parte fundamental del ser humano a lo largo de su existencia. Sin embargo, el d e s a r ro l l o d e h a b i l i d a d e s mu s i c a l e s e n e s p a c i o s n o a c a d é m i c o s t i e n d e a s e r m e n o s p r e c i a d o c o n e l argumento de que carecen de los fundamentos teóricos requeridos dentro del aprendizaje de la música clásica. Al transitar la educación musical de espacios sociales a institucionales, la estandarización del saber ha privilegiado el aprendizaje abstracto sobre aquel que se da en entornos prácticos. La música en su forma escrita se concibe como obra de arte en sí misma, creando división entre los que pueden interpretar la música «culta» y quienes no. Por lo tanto, la música clásica se considera como objeto digno de ser consumido por las clases sociales dominantes a fin de reafir mar su posición. Palabras ClaveEducación musical; música huasteca; son huasteco; raíces indígenas. a fundamental part of the human being throughout its e x i s t e n c e . H o w e v e r, t h e development of music skills in non-academic spaces tends to be u n d e r e s t i m a t e d w i t h t h e argument that they lack the required theoretical foundations within the learning of classical music. By moving through music e d u c a t i o n f ro m s o c i a l t o i n s t i t u t i o n a l s p a c e s , t h e standardization of knowledge has privileged abstract learning over that which takes place in practical environments. Music in its written form is conceived as a work of art in itself, creating a division between those who can interpret the 'cultured' music and those who cannot. Classical music is therefore considered as an object worthy of being consumed by the dominant social classes in order to reaffirm their position. This has an impact on the value given to music with indigenous roots. REVISTA INTERNACIONAL DE EDUCACIÓN MUSICAL

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