This paper argues that the neoliberal (mis)appropriation of artistic creativity that begins to have a serious impact on music education can be seen as the result of a reverse détournement, whereby the very terms that used to play a pivotal role in describing the anti-systemic, anti-commercial, unsettling, emancipatory qualities of artistic creativity are being used to legitimize a thoroughly economized conception of creativity. It is suggested that this reverse détournement shapes a notion of creativity that can be referred to as subsumptive, a term that denotes the thorough instrumentalization of creativity that leads to a managerial approach to creative processes and practices. The paper identifies some of the main terms that have been sacrificed in the process of the neoliberal colonization of creativity, suggesting that we actively resist subsumptive creativity by molding a counter-hegemonic language that offers an alternative conceptual apparatus that might permit a conceptualization of creativity as subversive. Thus, it is suggested that instead of drawing on notions of flexibility and adaptability we explore the notion of nondeterminist plasticity of minds; instead of emphasizing uncertainty and risk-taking we choose to cultivate fearless exploration; in the place of notions of collaboration (that easily slips to networking) we emphasize dis-identification; instead of celebrating independence we engage with the notion of collectivity; instead of emphasizing learning how to anticipate future needs we choose to explore the merits of (temporary) withdrawal; instead of celebrating innovation we choose to explore practices of dismeasure; and instead of seeking ways to boost confidence, we explore the subversive potential of vulnerability.