The purpose of this research was to highlight another dimension of education that values the body as a place where learning and self-efficacy take place. Traditionally, the arts are kept separate from the core subjects, and the mind is kept separate from the body in education. This dual way of thinking also creates culturally hegemonic systems where Black bodies are seen as "the other." This study was grounded in a phenomenological theoretical framework employing the methods of endarkened feminism (Dillard, 2000), the daughter of Black feminism. The following questions framed the study: How do Black women music educators describe their schooling and work experiences? How do Black women music educators use critical embodied pedagogies? How do Black women music educators use decolonizing and equity work both in and outside of the music classroom? What conditions invite the full presence of Black women music educators? How does this work and the women in it sustain their spirit and work? I used kitchen table talks with seven Black women music educators to understand their experiences in and outside of the music classroom. Toliver's (2021) endarkened storywork's data analysis steps revealed the themes of (re)member/(dis)member, (re)vitalize, (re)late, and (re)imagine. Implications for future research include body-informed leadership using cultural somatics (Menakem, 2017) for PK-20 educational leaders and future research in cymatics in relation to music therapists and music educators. [The dissertation citations contained here are published with the permission of ProQuest LLC. Further reproduction is prohibited without permission. Copies of dissertations may be obtained by Telephone (800) 1-800-521-0600. Web page: http://bibliotheek.ehb.be:2222/en-US/products/dissertations/individuals.shtml.]