ABSTRACT
Contributed by Chérie Ndaliko, this chapter wrestles with the history of Coloniality and World Music and the more recent possibilities afforded by decolonial projects, thinking in particular about how musical performance offers us the opportunity to begin to name the histories of domination and the violences accompanying colonial projects. The chapter also offers ways of imagining the terrain upon which truly decolonial projects can be articulated and the ways in which musicians have already shown the way.
