Our theoretical aim in this paper is to interrogate the potential for musicking--Christopher Small's (1989) conception of the musical act, which does not separate musical participation from the musical product--to open up, through a destabilizing performance of cultural hybridity, what Bhabha (2008) calls the third space of enunciation. Based on preliminary field research, we find that practices of music teaching and learning centered in and around the Palestine Music Academy (pseudonym) provide evidence that musicking can be a subversive practice of resistance that disrupts symbolic systems that serve to dominate and control marginalized people. The paper reflects on the connection between musicking, identity, and everyday resistance, and queries how such a conception might impact the practice of music education for those in other marginalized spaces.