In this paper, I advocate that culture matters in music education and should be a measure we consider when we assess the quality of music-making in the community. Community arts education can address a multitude of social issues that impact marginalized communities if viewed through an appropriate lens. I propose historical trauma as an appropriate lens for a (post)colonial context. It provides a framework for disrupting music education practices in university music programs and reconsidering the competencies that need to be emphasized when training conservatory educated performers to be community music facilitators. This text is a story, written in the style of a genealogical narrative (whakapapa korero). It moves through a specific body of experiences, interconnected stories, contexts and emotions, a process identified by indigenous social work researchers as a culturally appropriate healing intervention for indigenous communities. If you are looking for a bullet-pointed exposition of suitable procedures to employ in your work, you are missing the point. In the past we indigenous academics have made it very easy for other academics and researchers to access our knowledge, but to appreciate the new knowing offered in this text you will have to work a little harder. You will need to shift your cultural paradigm and any academic bias to a world where you are not given direct answers, but rather you are encouraged to listen (and with the audio examples provided I mean that literally), reflect, become aware of your physical reactions, open yourself to the spiritual dimension and consider how these words and sounds may impact your future thinking. Most importantly, I hope this chapter will allow you to understand and share the un-mourned grief of the indigenous people in your (s)p(l)ace. [The month shown on the PDF (June) is incorrect. The correct month is July.]