The work in this article (re)traces the nuances embedded within the aesthetics of the Wu-Tang Clan to draw attention to two theoretical, Wu-based concepts: "Shaolin" and "swarming." This article leans into fugivity and critical race theory (CRT) to demonstrate how hip-hop music can be a capacious avenue for theorizing alternate ways to disrupt hegemonic, oppressive, and racist educational structures and master narratives. In particular, we use two Wu-Tang tracks (e.g. "Can it be all so simple," "Triumph") to demonstrate how static approaches to hip-hop--specifically the Wu-Tang--reduce and flatten engagements with hip-hop music in educational contexts. Central to our argument is that the aesthetics of the Wu-Tang Clan are more than economically damaged narratives that tether various culture entities together: Wu-Tang "is" theory.