This article addresses how populist discourses surrounding the notion of voice can safeguard--perhaps contradictorily--spaces for undemocratic exertion of power, influence, and privilege. I argue that managerial democracy and vocality--a distortion of the potential found in the intersection between voice and agency--have become rather apt at appropriating artistic critique and disruptive cultural strategies into existing capital forms of action, thus working to neutralize its subversive potential (Boltanski and Capello 2005). In this article, I articulate a vision of policy practices as a personal and communal enterprise that aligns with the critical artwork that Chantal Mouffe calls for as a form of hegemonic disruption. The discussion ends by situating these challenges within issues related to post-colonial relations and the urgent and timely politics of indigenization of educational practices and curricula, including those in art and in music education.